Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
420	https://historysoa.com/items/show/420	The Author, Vol. 21 Issue 08 (May 1911)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+21+Issue+08+%28May+1911%29"><em>The Author</em>, Vol. 21 Issue 08 (May 1911)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1911-05-01-The-Author-21-8					183–210																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=21">21</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1911-05-01">1911-05-01</a>							8			19110501	The Author.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> Vol. XXI.- No. 8.<br /> MAY 1, 1911.<br /> (PRICE SIXPENCE.<br /> CONTENTS.<br /> РАОЕ<br /> 198<br /> Notices<br /> The Society&#039;s Funds<br /> List of Members ...<br /> The Pension Fund<br /> Committee Notes<br /> The Meeting of Dramatists.<br /> Books published by Members<br /> Literary, Dramatic and Musical Notes<br /> PAGR<br /> 183<br /> 183<br /> 183<br /> 184<br /> 185<br /> 187<br /> 191<br /> 193<br /> 195<br /> 196<br /> 198<br /> 198<br /> Warnings to Dramatic Authors<br /> Registration of Scenarios and Original<br /> Dramatic Authors and Agents<br /> Warnings to Musical Composers<br /> Stamping Music ...<br /> The Reading Branch<br /> Remittances<br /> General Notes<br /> The Modern Novel a<br /> Style in Literature<br /> Correspondence ...<br /> 199<br /> 199<br /> 199<br /> 199<br /> 199<br /> 199<br /> 200<br /> 201<br /> 202<br /> 208<br /> Publishers need not preserve Pseudonymity (U.S.A.)<br /> Warnings to the Producers of Books<br /> How to Use the Society<br /> PUBLICATIONS OF THE SOCIETY.<br /> 1. The Annual Report for the current year. 18.<br /> 2. The Author Published ten months in the year (Angust and September omitted), devoted especially<br /> to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br /> to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back<br /> numbers from 1892, at 10s. 6d. per vol.<br /> 3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 38.<br /> 4. The History of the Société des Gens de Lettres. By 8. SQUIRE SPRIGGE. 1s.<br /> 8. The Cost of Production. (Out of print.)<br /> 8. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br /> papers in the Society&#039;s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the<br /> various kinds of fraud which have been made possible by the different clauses therein. 38.<br /> Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br /> the office of the Society since the publication of the “ Methods.&quot; With comments and<br /> advice. 28.<br /> 7. Copyright Law Reform. An Exposition of Lord Monkswell&#039;s Copyright Bill of 1890. With<br /> Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br /> American Copyright Bill. By J. M. LELY. 13. 6d.<br /> 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br /> (Chairman of Committee, 1888–1892). 18.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br /> LUNGE, J.U.D. 28. 6d.<br /> 10. Forms of Agreement issued by the Publishers&#039; Association ; with Comments. By<br /> G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.<br /> 11. Periodicals and their contributors. Giving the Terms on which the different Magazines<br /> and Periodicals deal with MSS. and Contributions. 6d.<br /> 12. Society of Authors. List of Members. Published October, 1907, price 6d.<br /> 13. International Copyright. Convention as Revised at Berlin, 1909. 1s.<br /> (All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> ## p. 182 (#248) ############################################<br /> <br /> ADVERTISEMENTS.<br /> The Society of Authors (Incorporated).<br /> Telegraphic Address : &quot;AUTORIDAD, LONDON.&quot;<br /> Telephone No. : 314 Victoria.<br /> PRESIDENT.<br /> THOMAS HARDY, O.M<br /> COUNCIL<br /> SIR ROBERT ANDEREON, K.C.B. AUSTIN DOBSON.<br /> SIR WM.REYNELL ANSON, Bart., D.C.L. | SIR ARTHUR CONAN DOYLE.<br /> THE RIGHT Hon. THE LORD AVE. DOUGLAS FRESHFIELD.<br /> J. M. BARRIE.<br /> (BURY, P.C. SIR W. S. GILBERT.<br /> SIR ALFRAD BATEMAN, K.C.M.G. EDMUND GOSSE, LL.D.<br /> ROBERT BATEMAN.<br /> SYDNEY GRUNDY.<br /> F. E. BEDDARD, F.R.S.<br /> H. RIDER HAGGARD,<br /> MRS. BELLOC-LOWNDER.<br /> MRS. HARRISON (“LUCAS MALET&#039;).<br /> THE RIGHT HON. AUGUSTINE BIR. ANTHONY HOPE HAWKING,<br /> BELL, P.C.<br /> E. W. HORNUNG.<br /> MRS. E. NESBIT BLAND.<br /> MAURICE HEWLETT.<br /> THE REV. PROF. BONNEY, F.R.S. W. W. JACOBS.<br /> THE RIGHT Hon. JAMES BRYCE, P.C. | HENRY JAMES.<br /> The Right Hon. TRE LORD BORGH. JEROME K. JEROME.<br /> CLERE, P.C.<br /> HENRY ARTHUR JONES.<br /> HALL CAINE.<br /> J. Scott KELTIE, LL.D.<br /> J. W. COMYNS CARR.<br /> RUDYARD KIPLING.<br /> EGERTON CASTLK, F.S.A.<br /> SIR EDWIN RAY LANKESTER, F.R.8,<br /> EDWARD CLODD.<br /> THE REV. W. J. LOFTIE, F.8.A.<br /> W. MORRIS COLLES.<br /> LADY LUGARD (M188 FLORA L.<br /> THE HON. JOHN COLLIER,<br /> SHAW).<br /> BIR W. MARTIN CONWAY.<br /> MRS. MAXWELL (M. E. BRADDON).<br /> THE RIGHT HON. THE LOBD CURZON AYLMER MAUDE.<br /> OF KEDLESTON, P.C.<br /> JUSTIN MCCARTHY.<br /> THE REV. C. H. MIDDLETON-WAKE.<br /> SIR HENRY NORMAN, M.P.<br /> SIR GILBERT PARKER, M.P.<br /> SIR ARTHUR PINERO.<br /> THE RIGHT HON, SIR HORACE<br /> PLUNKETT, K.P.<br /> ARTHUR RACKHAM.<br /> OWEN SEAMAN.<br /> G. BERNARD SHAW,<br /> G. R. SIMs.<br /> S. SQUIRE SPRIGGE,<br /> FRANCIS STORR.<br /> SIR CHARLES VILLIERS STANFORD,<br /> Mus. Doc.<br /> MRS. HUMPHRY WARD,<br /> SIDNEY WEBB.<br /> H. G. WELLS.<br /> PERCY WHITE.<br /> FIELD-MARSHAL THE RIGHT Hox.<br /> THE VISCOUNT WOLSELEY, K.P.,<br /> P.C., &amp;c.<br /> COMMITTEE OF MANAGEMENT.<br /> Chairman-S. SQUIRE SPRIGGE, M.P.<br /> SIR ALFRED BATEMAN, K.C.M.G. | MAURICE HEWLETT,<br /> G. BERNARD SHAW.<br /> MRS. BELLOC-LOWNDES.<br /> W. W. JACOBS.<br /> FRANCIA STORR,<br /> MRS. E. NESBIT BLAND.<br /> AYLMER MAUDE.<br /> SIDNEY WEBB,<br /> J. W. COMENS CARR.<br /> ARTHUR RACKHAM.<br /> RUDOLPH BESIER.<br /> H. GRANVILLE BARKER.<br /> ANSTEY GUTHRIE.<br /> Miss CICELY HAMILTON.<br /> DRAMATIC SUB-COMMITTEE.<br /> Chairman-R. C. CARTON.<br /> | CAPT. BASIL HOOD.<br /> G. BERNARD SHAW.<br /> JEROME K. JEROME.<br /> MISS E. M. SYMONDS.<br /> W. SOMERSET MAUGHAM.<br /> CECIL RALEIGH.<br /> PENSION FUND COMMITTEE.<br /> Chairman-8. SQUIRE SPRIGGE, M.P.<br /> MORLEY ROBERTS.<br /> MRS. ALEC TWEEDIE.<br /> M. H. SPIELMANN,<br /> MRS. HUMPHRY WARD,<br /> ANSTEY GUTHRIE.<br /> ANTHONY HOPE HAWKINS.<br /> H. A. HINKSON.<br /> E. J. MACGILLIVRAY.<br /> SIR GILBERT PARKER, M.P.<br /> COPYRIGHT SUB-COMMITTEE.<br /> SIR CHARLES VILLIERS STANFORD, HERBERT SULLIVAN.<br /> Mus. Doc.<br /> SIR JAMES YOXALL, M.P.<br /> | M. H. SPIELMANN.<br /> THE Hon. JoAN COLLIER,<br /> Sir W. MARTIN CONWAY.<br /> ART.<br /> JOHN HASSALL, R.I.<br /> J. G. MILLAIS.<br /> ARTHUR RACKHAM,<br /> M. H. SPIELMANN.<br /> FIELD, ROSCOK &amp; Co., 36, Lincolu&#039;s Inn Fields, W.C.<br /> Secretary-G. HERBERT THRING,<br /> G. HERBERT THRING, 39, Old Queen Street, Storey&#039;s Gate, S.W.J<br /> Solicitor in England to<br /> La Société des gens de Lettres.<br /> Legal Adviser in America—JAMES BYRNE, 24, Broad Street, New York, U.S.A.<br /> OFFICES<br /> 39, OLD QUEEN STREET, STOREY&#039;S GATB, 8.W.<br /> <br /> <br /> ## p. 182 (#249) ############################################<br /> <br /> ADVERTISEMENTS.<br /> -PLAYS<br /> Mr. Forbes Dawson<br /> (Member of the Incorporated Society of Authors),<br /> An Actor of over 25 years&#039; continuous experience of the stage in every class of theatre, and every<br /> class of play in all parts of the world.<br /> Late of:—The Theatre Royal, Haymarket, Prince of Wales&#039;, Vaudeville, Gaiety, Comedy, Wyndham&#039;s,<br /> the new and old Strand, the Playhouse (late Avenue), Terry&#039;s, and the Adelphi.<br /> MASTER OF STAGE CRAFT AND PLAY CONSTRUCTION.<br /> Author of many plays produced in Great Britain and America.<br /> Adapter of several Novels to the Stage.<br /> Gives Practical Advice upon Plays.<br /> Dramatises Books and Short Stories.<br /> NO THEORIES.<br /> No charge for reading and giving a practical report on a play.<br /> MR. FORBES DAWSON is qualified to advise upon play construction and stage craft, having gone through a practical<br /> training-not upon the London stage only-but also in the hard and varied mill of the provinces, and the dramatic<br /> stock companies in the Canadas, California, and the United States of America.<br /> ADDRESS: 23, MIDMOOR ROAD, WIMBLEDON, S.W.<br /> ESTABLISHED)<br /> (XVIII. CENT.<br /> The Wessex Press, Taunton.<br /> BARNICOTT &amp; PEARCE<br /> INVITE ENQUIRIES RESPECTING PRINTING.<br /> ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.<br /> &quot;Feeding and Management<br /> in Infancy.”<br /> By ARTHUR A. BEALE, M.B.<br /> Containing Chapters on-CAUSES OF INFANT MORTALITY; FOOD, AND HOW TO<br /> FEED; ARTIFICIAL FEEDING ; SPECIAL INFORMATION FOR MOTHERS, &amp;c.<br /> Stiff Paper Cover, 6d.; Cloth, ls.<br /> J. F. BELMONT &amp; CO., 29, PATERNOSTER SQUARE, E.C.<br /> <br /> <br /> ## p. 182 (#250) ############################################<br /> <br /> ADVERTISEMENTS.<br /> A MAGAZINE DE LUXE FOR BOOK READERS.<br /> We wish every reader of these lines to<br /> become a reader of &quot;THE BOOKMAN.”<br /> If you are not acquainted with “THE<br /> BOOKMAN,&quot; will you kindly send a<br /> post-card to the publishers for a specimen<br /> copy, which will gladly be forwarded to<br /> all readers of “THE AUTHOR.&quot;<br /> “THE BOOKMAN” makes appeal to<br /> everyone who is interested in the literature<br /> of the day. &quot;THE BOOKMAN” is<br /> not a dry-as-dust magazine for specialists.<br /> Every line and every picture it contains<br /> are of peculiar interest to the great and<br /> ever-increasing public that delights in<br /> books.<br /> “THE BOOKMAN&quot; is the periodical<br /> for those who want to keep in touch with<br /> the books most worth reading, and with<br /> the authors most worth knowing.<br /> &quot;THE BOOKMAN” contains each<br /> month, besides a separately mounted plate<br /> portrait, an article on some prominent<br /> author of the day, written by an eminent<br /> critic and magnificently illustrated through-<br /> out. There are also papers on topics of<br /> literary interest by well-known writers,<br /> reviews of the best new books by the first<br /> authorities, and several pages of the<br /> freshest literary news. “THE BOOK-<br /> MAN” thus fulfils, in a manner never<br /> before attempted, the requirements of the<br /> great book-loving public.<br /> “THE BOOKMAN” is edited by<br /> Sir W. ROBERTSON NIcoll, and is pub-<br /> lished on the first of each month, price 6d.<br /> net.<br /> Ist of each month.<br /> Published on the<br /> Illustrated,<br /> 1st of each month.<br /> Price 6d, net<br /> Edited by Sir W. ROBERTSON NICOLL, M.A., LL.D.<br /> THE BOOKMAN.<br /> To Messrs. HODDER &amp; STOUGHTON, Warwick Square, London.<br /> I enclose 8/- in payment of a yearly subscription to &quot;THE BOOKMAN.” Please forward the comes<br /> regularly and post free to the following address, commencing with the ..................issue.<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> Name.....<br /> Address.........<br /> Date...<br /> Subscription Terms: Post free, 8/- per annum.<br /> HODDER &amp; STOUGHTON, Warwick Square, LONDON, E.C.<br /> £1<br /> Hodder &amp; Stoughton&#039;s<br /> £1,000 PRIZE NOVEL<br /> :: COMPETITION. ::<br /> Miss Beatrice Harraden, Sir W. Robertson Nicoll, and Clement Shorter.<br /> OPEN TO ALL AUTHORS.<br /> <br /> ADJUDICATORS:-<br /> Full particulars on application to HODDER &amp; STOUGHTON (Prize Novel<br /> Competition), St. Paul&#039;s House, Warwick Square, London, E.C,<br /> <br /> <br /> ## p. 182 (#251) ############################################<br /> <br /> ADVERTISEMENTS.<br /> EVERY MAN HIS OWN BINDER.<br /> BARGAINS IN BOOKS.<br /> The Belmont<br /> Mechanical Binder<br /> Terms—Cash with order. The Tissot Pictures<br /> Illustrating the Life of Christ, £6 6s. net ;<br /> Splendid Copy, absolutely good as new for<br /> £3 58. The Great Barrier Reef of Australia;<br /> magnificent photographic enlargements of the<br /> illustrations from that well-known work of<br /> Coral, etc. ; published £4 48. net, for £1 98. 6d.<br /> The Twentieth Century Practice of Medicine;<br /> an international Encyclopædia of Modern<br /> Medical Science by leading authorities of<br /> Europe and America ; 20 volumes, published<br /> 20 guineas; new, uncut, original binding, £7<br /> 10s. Random Recollections of a Publisher,<br /> by WM. TINSLEY ; 2 vols., demy 8vo, 218., for<br /> 58. 9d. A parcel of 12 Six Shilling Novels,<br /> all nearly new and in good condition, for 78. 6d.<br /> Cross cheques and postal orders L. &amp; S.W. Bank,<br /> Fleet Street Branch.-J. F. BELMONT &amp; Co.,<br /> 29, Paternoster Square, E.C.<br /> (SYMON&#039;S PATENT).<br /> FULL PROSPECTUS AND PRICES<br /> FREE ON APPLICATION.<br /> J. F. BELMONT &amp; CO.,<br /> 29, Paternoster Square, London, E.C.<br /> TYPEWRITING.<br /> Authors&#039; MSS. neatly and accurately typed, 9d.<br /> per 1,000 words, including carbon copy.<br /> Also General Copying, Plays, Actors&#039; Parts, etc.<br /> MISS B. KERRY, Rohilla, Carshalton.<br /> To Authors and Journalists.<br /> GENEALOGY AND<br /> TOPOGRAPHY.<br /> The writer, whether he aspires to write novels, short stories,<br /> or articles, often spends years in uncongenial work,<br /> rebuffs and drudgery being the only return for the time<br /> and labour spent.<br /> THE COURSE OF LITERARY TRAINING promoted by<br /> the Literary Correspondence College teaches the<br /> aspirant to serve his apprenticeship to Literature in the<br /> briefest time possible.<br /> The College also undertakes Literary Agency business of all<br /> kinds.<br /> For full particulars write at once for Pamphlet D.M. to the LITERARY<br /> CORRESPONDENCE COLLEGE, 9, Arundel Street, Strand, W.C.<br /> Searches undertaken among Public Records, Wills,<br /> Parish Registers, etc.<br /> M., c/o J. F. BELMONT &amp; CO., 29, PATERNOSTER SQ., LONDON, E.C.<br /> AUTHORS&#039; TYPEWRITING.<br /> Novel and Story Work .. 9d, per 1,000 words ; 2 Copies, 1/-<br /> General Copying .. .. 1/<br /> 1 1<br /> Plays, ruled .. .. .. 11 &quot; &quot;<br /> Specimens and Price List on application.<br /> MISS A. B. STEVENSON, Yew Tree Cottage,<br /> SUTTON, MACCLESFIELD,<br /> &quot;First Lessons in Story Writing.&quot;<br /> By BARRY PAIN.<br /> 2nd Edition. 28. 6d. net. 28. 8d. post free.<br /> of this work the Westminster Gazette writes :-&quot;The<br /> beginner who takes these lessons to heart may be quite<br /> assured of an advantage over bis competitors.&quot;<br /> TYPEWRITING.<br /> MISS FOWLER, Maxwell House, Arundel<br /> Street, Strand, W.C.<br /> EXPERT IN DECIPHERING DIFFICULT HANDWRITING.<br /> Extract from Unsolicited Testimonial.--&quot;I send you work com®<br /> pared to which Egyptian hieroglyphics would be child&#039;s play, and you<br /> return the manuscript at the time requested without one single<br /> inaccuracy. It is nothing short of marvellous<br /> &quot; How to become an Author.&quot;<br /> By ARNOLD BENNETT.<br /> A Practical Guide; full of useful hints.<br /> 2nd Edition. 58. net. 6s. 4d. post free.<br /> The Literary Correspondence College,<br /> 9, Arundel Street, Strand, W.C.<br /> TYPEWRITING<br /> Undertaken by highly educated Women (Classical Tripos,<br /> Girton College, Cambridge ; Intermediate Arts, London).<br /> Research, Revision, Shorthand.<br /> THE CAMBRIDGE TYPEWRITING AGENCY,<br /> Telephone 2308 City. 5, Duke Street, Adelphi, W.C.<br /> <br /> <br /> ## p. 182 (#252) ############################################<br /> <br /> ADVERTISEMENTS.<br /> COTTERILL &amp; CROMB,<br /> Literary, Artistic, and Dramatic Agents.<br /> lou<br /> 0000000000<br /> The Managers of this Agency have exceptional facilities for placing Novels with the best<br /> Publishers. They have also a unique knowledge of the Buying and Selling of Magazine, Periodical and<br /> Newspaper Fiction. During the past six years they have placed Serials, Short Stories, Articles and<br /> Black and White Illustrations in all the leading British, Colonial and American publications on very<br /> favourable terms. New Authors of real promise receive encouragement and helpful advice. Expert<br /> knowledge is brought to bear upon every MS, with a view to placing it to the best advantage. Many<br /> Authors whose names are now well known were introduced to the reading public through the Managers of<br /> this Agency who have a long and close personal and business connection with the principal Publishers<br /> and Editors.<br /> DRAMATIC ADVISER—MR. WILLIAM MOLLISON.<br /> Mr. William Mollison, the well-known London and provincial actor, who acts as dramatic adviser<br /> for Messrs. Cotterill &amp; Cromb, has played Richelieu in &quot;The Musketeers,&quot; at the Haymarket ; Cardinal<br /> Colonne in “ Dante” with Henry Irving at Drury Lane; and Pistol in “King Henry V.&quot; at the Lyceum ;<br /> and he was for some time in partnership with Lewis Waller. He produced “The Bonnie Briar Rose&quot; at<br /> the St. James&#039;s, and has since played the part of Lauchlan Campbell in the provinces over a thousand times. He<br /> also took on tour John Galsworthy&#039;s remarkable play, “Strife,&quot; which created so profound an impression when<br /> Mr. Frohman produced it at the Duke of York&#039;s Theatre. More recently he made a great hit with a one-<br /> act sketch “The Touch of the Child.&quot;<br /> Messrs. Cotterill &amp; Cromb&#039;s clients have thus the advantage of Mr. Mollison&#039;s great influence and<br /> experience.<br /> Write for terms to-<br /> Lennox House, Norfolk Street, Strand, W.C.<br /> 000<br /> oooo<br /> Du<br /> 000000000... INICO 0000000000<br /> 000000000www<br /> .wooo0000000<br /> “An indispensable book of reference for authors and<br /> journalists.&quot; - Daily Graphic.<br /> Just out, 1/- paper, 2/- cloth, net.<br /> SMITH &amp; Sox, Renfield Street, GLASGOW.<br /> LITERARY YEAR-BOOK (1911)<br /> WILLIAM THOMSON<br /> (LORD KELVIN).<br /> His Way of Teaching Natural Philosophy.<br /> By DAVID WILSON.<br /> Crown 8vo.]<br /> Price 6s. net.<br /> [970 pages.<br /> PRINCIPAL CONTENTS: - Authors&#039; Directory;<br /> Literary Agents ; Typists ; Indexers ; Translators;<br /> Booksellers ; Proof-correcting, etc.; Law and<br /> Letters ; British, American, Canadian, and Indian<br /> Periodicals (with a classified index and full<br /> particulars for contributors) ; Royalty Tables ;<br /> Publishers (British and Foreign); Literary Societies<br /> and Clubs; A classified list of cheap reprints (95<br /> different series), etc., etc.<br /> Opinions of Authors :-“Many thanks for the help which the<br /> Year Book now affords.&quot;-&quot; The Year Book is a great boon to<br /> authors, and this year is better than ever.&quot;-&quot;I have found The<br /> Literary Year Book a very valuable book of reference.&quot;&#039;_“I<br /> ng you how great a help the book is<br /> to me as an author and as a working journalist.&quot;<br /> &quot;A work with a wide reputation and one justly earned.&quot;-<br /> The Author.<br /> ANECDOTES OF BIG<br /> CATS AND OTHER BEASTS.<br /> By DAVID WILSON.<br /> METHUEN &amp; Co., 6-<br /> Times.—“Mr. Theodore Roosevelt can recount many<br /> stories of such scenes, while Mr. D. Wilson goes a<br /> step further ... by telling his readers something<br /> of the mental attitude of the quarry.&quot;<br /> Guardian.--&quot;Mr. Wilson is the right person to tell<br /> stories of sport.&quot;<br /> Pall Mall Gazette.--&quot; Captivating and engrossing.&quot;<br /> Labour Leader.-&quot; This book is one of the most<br /> delightful collections of animal stories it has been<br /> our lot to meet.&quot;<br /> Morning Post.&quot; Delightfully sympathetic... Noth-<br /> ing is excluded, from the tiger and leopard to the<br /> domestic pussy-cat, from the bear to the buffalo,<br /> from the monkey to the elephant.&quot;<br /> Humanitarian.--&quot;We advise all our friends to read<br /> this admirable book.”<br /> Authors are invited to send their names<br /> and particulars of their publications to<br /> the Editor for insertion in the next issue,<br /> notice of which will be sent them in due<br /> course,<br /> Address : c/o GEORGE ROUTLEDGE &amp; SONS, Ltd.,<br /> 68, Carter Lane, London, E.C.<br /> <br /> <br /> ## p. 183 (#253) ############################################<br /> <br /> The Author.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> Vol. XXI.-No. 8.<br /> May 1st, 1911.<br /> [PRICE SIXPENCE.<br /> TELEPHONE NUMBER :<br /> 374 VICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> ADVERTISEMENTS.<br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the case.<br /> Although care is exercised that no undesirable<br /> advertisements be inserted, they do not accept, and<br /> never have accepted, any liability.<br /> Members should apply to the Secretary for advice<br /> if special information is desired.<br /> NOTICES.<br /> DOR the opinions expressed in papers that are<br /> I signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the opinion<br /> of the Committee unless such is especially stated<br /> to be the case.<br /> THE SOCIETY&#039;S FUNDS.<br /> THE Editor begs to inform members of the<br /> Authors&#039; Society and other readers of The Author<br /> that the cases which are quoted in The Author are<br /> cases that have come before the notice or to the<br /> knowledge of the Secretary of the Society, and that<br /> those members of the Society who desire to have<br /> the names of the publishers concerned can obtain<br /> them on application.<br /> LROM time to time members of the Society<br /> T desire to make donations to its funds in<br /> recognition of work that has been done for<br /> them. The Committee, acting on the suggestion<br /> of one of these members, have decided to place<br /> this permanent paragraph in The Author in order<br /> that members may be cognisant of those funds to<br /> which these contributions may be paid.<br /> The funds suitable for this purpose are : (1) The<br /> Capital Fund. This fund is kept in reserve in<br /> case it is necessary for the Society to incur heavy<br /> expenditure, either in fighting a question of prin-<br /> ciple, or in assisting to obtain copyright reform,<br /> or in dealing with any other matter closely<br /> connected with the work of the Society.<br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover the<br /> needs of all the members of the Society.<br /> ARTICLES AND CONTRIBUTIONS.<br /> THE Editor of The Author begs to remind<br /> members of the Society that, although the paper<br /> is sent to them free of cost, its production would<br /> be a very heavy charge on the resources of the<br /> Society if a great many members did not forward<br /> to the Secretary the modest 5s. 6d. subscription for<br /> the year.<br /> Communications for The Author should be<br /> addressed to the Offices of the Society, 39, Old<br /> Queen Street, Storey&#039;s Gate, S.W., and should<br /> reach the Editor not later than the 21st of each<br /> month.<br /> Communications and letters are invited by the<br /> Editor on all literary matters treated from the<br /> standpoint of art or business, but on no other<br /> subjects whatever. Every effort will be made to<br /> return articles which cannot be accepted.<br /> VOL. XXI.<br /> LIST OF MEMBERS.<br /> THE List of Members of the Society of Authors,<br /> 1 published October, 1907, can now be obtained<br /> at the offices of the Society at the price of<br /> 6d., post free 7d. It includes elections to July,<br /> 1907, and will be sold to members and associates<br /> of the Society only.<br /> A dozen blank pages bave been added at the<br /> <br /> <br /> ## p. 184 (#254) ############################################<br /> <br /> 184<br /> THE AUTHOR.<br /> end of the list for the convenience of those who<br /> desire to add future elections as they are chronicled<br /> from month to month in these pages.<br /> Feb. 15, Reynolds, Mrs. Baillie . .<br /> Feb. 21, Rhys, Ernest ..<br /> Feb. 21, Cameron, Mrs. (Charlotte) .<br /> Feb. 21, Mulliken, Mrs.<br /> . .<br /> March 9, Boughton, Rutland .<br /> March 10, Somers, John . . .<br /> April 6, Rawlings, Burford . ;<br /> April 11, Wicks, Mark<br /> nicks, Mark . . .<br /> £ s. d.<br /> 0 5 0<br /> 0 10 6<br /> 1 1<br /> 0 5 0<br /> 0 5 0<br /> 0 5 0<br /> 0 10 6<br /> 0 5 0<br /> THE PENSION FUND.<br /> .<br /> · ·<br /> .<br /> · ·<br /> .<br /> · ·<br /> .<br /> ·<br /> .<br /> ·<br /> en coworoc Ener<br /> · ·<br /> ON February 1, the trustees of the Pension<br /> U Fund of the society-after the secretary<br /> had placed before them the financial<br /> position of the fund—decided to invest £250 in<br /> the purchase of Consols.<br /> The amount purchased at the present price is<br /> £312 1.8. 4d.<br /> This brings the invested funds to £4,377 19s. 4d.<br /> The trustees, however, have been unable to recom-<br /> mend the payment of any further pensions, as the<br /> income at their disposal is at present exhausted.<br /> They desire to draw the attention of the members<br /> of the society to this fact, in the hope that by<br /> additional subscriptions and donations there will<br /> be sufficient funds in hand in the course of the<br /> gear to declare another pension in case any im.<br /> portant claim is forthcoming.<br /> Consols 24%..............................<br /> .........£1,312 18 4<br /> Local Loans ...............<br /> ... 500 0 0<br /> Victorian Government 3% Consoli-<br /> dated Inscribed Stock ......... 291 19 11<br /> London and North-Western 3% Deben-<br /> ture Stock .....................<br /> 250 0 0<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates .... 200 0 0<br /> Cape of Good Hope 3% Inscribed<br /> Stock ............................. 200 0 0<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock.........<br /> 228 0 0<br /> New Zealand 3% Stock............... 247 9 6<br /> Irish Land Act 23% Guaranteed Stock 258 0 0<br /> Corporation of London 22% Stock,<br /> 1927-57 ..........<br /> ... 438 2 4<br /> Jamaica 31% Stock, 1919–49 .........<br /> Mauritius 4% 1937 Stock............... 120 121<br /> Dcminion of Canada C.P.R. 31% Land<br /> Grant Stock, 1938........... .... 198 3 8<br /> .<br /> · · ·<br /> ·<br /> ...<br /> · ·<br /> · ·<br /> ·<br /> Donations.<br /> 1911.<br /> Jan. 2, Northcote, The Rev. H.. . 050<br /> Jan. 2, Mackenzie, Miss J.<br /> 0 5 U<br /> Jan. 3, Church, Sir Arthur H. .<br /> 1 1<br /> Jan. 3, Wasteneys, Lady .<br /> Jan. 4, P. H. and M. K.<br /> Jan. 4, Randall, F. J. .<br /> . . . 1 1 6<br /> Jan. 5, W.<br /> ;<br /> . .<br /> . . . 0 10 0<br /> Jan. 5, Crellin, H. N.<br /> 0 5 0<br /> Jan. 5, S. F. G. . . .<br /> Jan. 6, Blake, J. P...<br /> lake, J. P. . . . . 1 1 0<br /> Jan. 7, Douglas, James A..<br /> Jan. 9, Grisewood, R. Norman .<br /> Jan. 10, Wharton, Leonard C. . . () 10 0<br /> Jan. 12, Tanner, James T.. . . 3 3 0<br /> Jan. 16, Kaye-Smith, Miss Sheila<br /> . 0 5<br /> Jan. 17, Kemp, Miss Emily G... 1 1 0<br /> Jan. 21, Greenstreet, The Rev. W.J.<br /> Jan. 26, Blundell, Miss Alice . . 0 5 0<br /> Jan. 28, Benecke, Miss Ida<br /> . 0 5 0<br /> Jan. 30, Wilkinson, The Rev.C.J. 1 1 0<br /> Feb. 2, Lawes, T. C...<br /> Feb. 3, Dawson, Mrs. F. . . 05 0<br /> Feb. 3, Tweedie, Mrs. Alec . . 1 1 0<br /> Feb. 10, Dale, T. F. , .<br /> Feb. 13. Machen, Arthur ..<br /> . 0 10 0<br /> Feb. 21, Strachey, Lady ..<br /> • 2 2 0<br /> Feb. 25, Humphreys, Mrs. (Rita) . 2 0 0<br /> March 3, Gibbs, F. L. A. .<br /> : 010 0<br /> March 6, Haultain, Arnold.<br /> .. 1 1 0<br /> March 9, Hardy, Harold . .<br /> • 0 10 0<br /> March 9, Hutton, E. . .<br /> . 0 5 0<br /> March 10, Wilson, Albert .<br /> • 0 5 0<br /> March 16, Ward, Dudley.<br /> 0 10 6<br /> March 30, Coke, Desmond .<br /> April 1, The XX Pen Club<br /> April 6, Channon, Mrs. E. M. . 0 5 0<br /> April 7, Henry, Miss Alice. .<br /> April 10, Ralli, Scaramanga . . 2 2 0<br /> April 11, Robins, Miss Alice<br /> April 20, MacEwan, Miss.<br /> 10<br /> April 20, C. N. and Mrs. Williamson. 5 5 0<br /> April 21, Shirley, Arthur . . 1 1 0<br /> April 22, H. A. and Mrs. Hinkson . 1 0 0<br /> April 24, Toplis, Miss Grace . . 0 10 0.<br /> · ·<br /> · · ·<br /> ·<br /> བྱr ༤<br /> Total ............. .. £4,377 19 4<br /> ··············<br /> £<br /> $. d.<br /> Subscriptions.<br /> 1911.<br /> Jan. 3, Yolland, Miss E.<br /> Jan. 3, Bowen, Miss Marjorie .<br /> Jan. 9, Bolton, Miss Anna . .<br /> Jan. 13, Edginton, Miss May .<br /> Feb. 11, Cannap, Gilbert . .<br /> 0 5<br /> 1 1<br /> 0 5<br /> ( 5<br /> 0 10<br /> 0<br /> 0<br /> 0<br /> .<br /> .<br /> .<br /> .<br /> 6<br /> <br /> <br /> ## p. 185 (#255) ############################################<br /> <br /> THE AUTHOR.<br /> 185<br /> COMMITTEE NOTES.<br /> and, in short, did not think anything more could<br /> be done by a professional auditor than he had<br /> done already. The committee decided, in these<br /> circumstances, that it would be a waste of money<br /> to send in a professional auditor.<br /> M HE April meeting of the Committee of The next question related to the infringement of<br /> I Management of the Society of Authors was the copyright of a member&#039;s work--work dealing<br /> held on Monday, April 3, at 4 p.m.<br /> with a technical subject by the publication of<br /> This was the first meeting after the Committee another book of a similar character. The solicitor<br /> Election for 1911. The present Committee of reported that as far as he had been able to look<br /> Management consists of the following:—Sir Alfred into the matter the infringement seemed clear, and<br /> Bateman, K.C.M.G., Mrs. Belloc-Lowndes, Mrs. that a breach of copyright had been committed.<br /> E. Nesbit Bland, J. W. Comyns Carr, Maurice The committee decided to support the action for<br /> Hewlett, W. W. Jacobs, Aylmer Maude, Arthur the member, taking the case through the courts if<br /> Rackham, G. Bernard Shaw, S. Squire Sprigge, necessary. A case of infringement of the dramatic<br /> M.D., Francis Storr, Sidney Webb.<br /> rights of one of the members by a performance of<br /> The first business before the Committee of his play in India was next discussed, and the<br /> Management was to elect a chairman for the secretary was instructed to place the matter in the<br /> carrent year. Dr. S. Squire Sprigge, who did so hands of the Indian solicitors of the society.<br /> much in the early days of the society under Sir The committee then discussed a dispute affecting<br /> Walter Besant&#039;s chairmanship, was, on the pro- some contributors to a magazine, and a paragraph<br /> posal of Sir Alfred Bateman, seconded by Mr. dealing with the matter will be found elsewhere in<br /> Bernard Shaw, and supported by Mr. Francis this issue of The Author. The magazine referred<br /> Storr, unanimously elected chairman for the to was The English Review.<br /> current year. After the minutes of the former The editor of an Indian paper having “ lifted”<br /> meeting had been read and signed, the committee a story by a member of the society which had been<br /> proceeded with the election of members. Twenty first published in The Westminster Gazette, and<br /> members and associates were elected, bringing the having in his letters to the secretary avoided<br /> total elections for the current year up to ninety-two. coming to any settlement on what appeared to be<br /> There were five resignations, bringing the total an unreasonable excuse, the committee decided to<br /> number of resignations for the current year up to commence proceedings.<br /> fifty. The committee are pleased to report that the The solicitor then made to the committee a<br /> elections are well up to the average of former report on the small cases which he had dealt with<br /> years, whereas the resignations are somewhat during the past month. In three claims against a<br /> below the number at the corresponding period of magazine it had proved impossible to obtain any<br /> 1910.<br /> satisfaction, as there were no assets to meet the<br /> Cases.--The solicitor of the society attended the claims of the members. Two small cases for<br /> meeting and made a report of the cases in hand. recovery of money due had been satisfactorily<br /> The first matter related to the infringement of settled. One case for the recovery of a MS. had<br /> the dramatic rights of two members. This case, been settled, and in one case, where a portion of a<br /> the solicitor reported, had been settled by the MS. had been lost, the defendant had promised to<br /> payment of a sum after the society had issued a pay reasonable compensation. The solicitor, accord-<br /> motion for injunction, and is now closed. The ingly, was instructed to proceed in this case. In<br /> result illustrated forcibly the practical value of the regard to certain cases taken up by the society<br /> society&#039;s intervention.<br /> against Mr. Henry J. Drane, judgment was obtained<br /> The next case had been before the society for before Mr. Justice Eady. There was another case<br /> some months, the member concerned asking the taken in hand against a literary agent for money<br /> society to put in an accountant to check the due to one of the members, which the committee<br /> accounts of a firm with which he was dealing. In instructed the solicitor to settle as quickly as<br /> this case the society had already obtained a con-, possible by service of a writ.<br /> siderable gum from the publisher, with a full After theconsideration of the cases, the committee<br /> statement of account and of the copies printed, and discussed the question of the new Copyright Bill,<br /> the author had received the stock. The only which had just been printed and made public.<br /> question remaining was whether the printers&#039; The committee instructed the secretary to send<br /> voucher for the number printed in the first copies of the Bill to members of the Committee of<br /> instance was correct. The solicitor added that Management and to the Copyright and Dramatic<br /> he had inspected the books of the publisher, Sub-Committees, and to refer the Bill to both the<br /> checked the sales&#039; account and seen the invoices, last-mentioned sub-committees for report. The<br /> <br /> <br /> ## p. 186 (#256) ############################################<br /> <br /> 186<br /> THE AUTHOR.<br /> Committee of Management decided also to have a The committee were glad to see that, with very<br /> special meeting for consideration of the Bill. few exceptions, all the suggestions made by the<br /> The re-election of the sub-committees followed, Society of Authors had been accepted. There<br /> and the Copyright and Art Sub-Committees were were, however, a few exceptions, of which one or<br /> re-elected in due course. The Committee of two were unimportant; but on two points, at least,<br /> Management accepted the recommendations of the committee considered that the views of the<br /> the dramatists of the society and elected the society must be pressed.<br /> persons whose names were laid before them, subject, (1.) (Members are referred to the bill which is<br /> of course, to their assent to undertake the duties. printed as a supplement to this number of The<br /> The Dramatic Sub-Committee for 1911 will be :- Author). As regards clause 2, sub-section 2, the<br /> Rudolph Besier, H. Granville Barker, R. C. Carton, society had suggested that the importation of<br /> Anstey Guthrie, Miss Cicely Hamilton, Captain copies should be illegal even though not “ for sale<br /> Basil Hood, Jerome K. Jerome, Henry Arthur or hire,&quot; and the Joint Committee considered that<br /> Jones, W. Somerset Maugham, Cecil Raleigh, G. this point should be still pressed upon the Govern-<br /> Bernard Shaw, Miss E. M. Symonds.<br /> ment as an amendment.<br /> The agency agreement was again laid before (2.) The Joint Committee considered that<br /> the committee, and after discussion the secretary clause 4 should not stand as drafted.<br /> was instructed to send fresh copies to the members Several proposals were made, and these will be<br /> of the committee, who decided to consider the considered at a subsequent meeting of the Com-<br /> terms and clauses at the next meeting.<br /> mittee of Management, when a definite report will<br /> The attention of the committee was called to be laid before them on these points. At the<br /> the letters in The Times on the subject of the meeting of the Joint Committee no form of com-<br /> Academic Committee, and to letters from members promise which seemed likely to be acceptable to<br /> on the subject of the library censorship.<br /> all parties was suggested.<br /> The secretary reported that he had received £3 (3.) It was felt that the proviso to clause 11<br /> from Miss Emma Brooke towards the capital fund should be withdrawn, as under that proviso it<br /> and £5 from Mr. A. Eggar towards the same fund, would be possible for any piratical printer to print<br /> and the committee decided to purchase £140 of a publisher&#039;s or printer&#039;s name on the pirated copy,<br /> consols out of the life membership account.<br /> and thus the onus probandi would be shifted from<br /> the pirate to prove innocence to the shoulders of<br /> the author to prove guilt. The Joint Committee<br /> considered that the alteration should be pressed.<br /> JOINT MEETING OF THE COMMITTEE OF<br /> (4.) With regard to clause 25, the Joint Com-<br /> MANAGEMENT AND THE COPYRIGHT mittee considered this clause as now drawn a<br /> SUB-COMMITTEE.<br /> distinct improvement on the clause of the 1910<br /> bill, and were glad to see that several of their<br /> · suggestions had been accepted ; but they did not<br /> THE Chairman opened the proceedings by an approve section B. as it stood ; they decided to<br /> nouncing that there were no agenda before reconsider it at a subsequent meeting, when here,<br /> the meeting except to consider and report on too, they hoped it would be possible to suggest<br /> the Copyright Bill, and, accordingly, suggested that some compromise.<br /> in the first instance the broad lines to be adopted All these points of discussion arose out of the<br /> by the Society of Authors should be considered, report of the Committee of Management on the<br /> and that a report should then be formulated, con- bill when it was introduced in 1910.<br /> taining the suggestions which the Committee of Other matters in the bill were discussed, and it<br /> the Society of Authors considered should be made was settled that the Copyright Sub-Committee<br /> when the bill was being carried through Com should make a report to the Committee of Manage-<br /> mittee of the House of Commons. Mr. Mac- ment at their next meeting.<br /> Gillivray then proposed that he should go through<br /> the new bill of 1911, considering how far the<br /> report of the Committee of Management on the<br /> DRAMATIC SUB-COMMITTEE.<br /> bill of 1910 had been accepted and their sugges-<br /> tions and those of the Copyright Sub-Committee<br /> had been embodied in the present bill. This M HE first meeting of the Dramatic Sub-Com-<br /> course was adopted, and Mr. MacGillivray went 1 mittee of the Society of Authors since its re-<br /> through the bill, indicating the alterations that election by the Committee of Management was<br /> had been made and the places where they con- held at the offices of the society on Friday, April 21.<br /> formed to suggestions of the society.<br /> The first business was to elect a chairman for the<br /> <br /> <br /> ## p. 187 (#257) ############################################<br /> <br /> THE AUTHOR.<br /> 187<br /> Managers of America, which set out at length the<br /> procedure for stopping infringements of dramatic<br /> rights in that country. The secretary was<br /> instructed to write to the counsel, Mr. Ligon<br /> Johnson, for further particulars, and to lay the<br /> matter before the Sub-Committee at their next<br /> meeting.<br /> The consideration of the managerial treaty was<br /> adjourned to the next meeting, and in the<br /> meanwhile the secretary was instructed to draft<br /> a form of contract and to circularise the Sub-<br /> Committee with it that they might consider it<br /> carefully before they reassembled.<br /> THE MEETING OF DRAMATISTS.<br /> current year, and on the proposal of Mr. Granville<br /> Barker, seconded by Mr. Bernard Shaw, Mr. R. C.<br /> Carton was unanimously elected. After the<br /> minutes of the former meeting had been read,<br /> approved and signed, the Sub-Committee turned<br /> their attention to the agenda. The secretary laid<br /> before the Sub-Committee a report that Sir Alfred<br /> Bateman had received from the Advisory Com-<br /> mittee of Commercial Intelligence of the Board of<br /> Trade with regard to the applications he had been<br /> making for reports from the consuls and commer-<br /> cial correspondents touching the performance of<br /> English plays. The Sub-Committee thanked Sir<br /> Alfred for the steps he had taken and hoped he<br /> would be able to carry the matter through<br /> successfully.<br /> The secretary then reported the legal cases that<br /> had been taken in hand on behalf of the dramatic<br /> members of the society since the last meeting. In<br /> one case of a cinematograph performance in<br /> America, the secretary reported he had obtained<br /> the opinion of the society&#039;s American lawyer, and<br /> that he was now waiting for further evidence as to<br /> title, and that the matter would go before the next<br /> meeting of the Committee of Management when<br /> he hoped, on the recommendation of the Sub-<br /> Committee, the case would be taken up.<br /> The next case related to the infringement of<br /> dramatic rights in India, and the secretary<br /> reported that it had been placed in the hands of<br /> the society&#039;s Indian lawyer. The third case was<br /> one of the performance on a cinematograph of a<br /> dramatic work in England. After the society had<br /> applied to the courts for an injunction, the<br /> defendants settled the case by payment of a sum<br /> of 2001. Finally, the secretary reported that he<br /> had recovered MSS. of some plays which had been<br /> lying with the proprietor of an Indian theatre, and<br /> he read to the Sub-Committee a letter from the<br /> author of the plays expressing his thanks for the<br /> work the society had done.<br /> The Sub-Committee next considered the Copy-<br /> right Bill, and various points in it touching<br /> dramatic rights were discussed. The secretary<br /> was instructed to refer them to the Copyright<br /> Sub-Committee.<br /> A letter which Sir Arthur Pinero, the late<br /> chairman, had received from the Society of West<br /> End Managers was next read, and the secretary<br /> was instructed to acknowledge it. A letter from<br /> the Lord Chamberlain&#039;s office was also read, and<br /> it was decided at present not to take any steps,<br /> but to await the further action promised by the<br /> Lord Chamberlain, who had stated that no time<br /> he<br /> would be lost in putting forward the points raised<br /> by the Dramatic Sub-Committee.<br /> An important letter was then read from the<br /> general counsel of the Theatrical Producing<br /> MEETING of the dramatist members of the<br /> Society of Authors was held at 3.30 p.m. on<br /> Friday, March 31, in the Large Room of<br /> the Society of Arts, 18, John Street, Adelphi, Sir<br /> Arthur Pinero being in the chair. The agenda-list<br /> was as follows:-<br /> 1. Sir Arthur Pinero, the chairman, will call on<br /> the secretary to announce the result of the ballot,<br /> and move that the result be communicated to the<br /> Committee of Management for its guidance in<br /> appointing the Dramatic Sub-Committee for the<br /> ensuing year. The motion will be seconded by<br /> Mr. Henry Arthur Jones, the vice-chairman.<br /> 2. The Chairinan will present the report of the<br /> Dramatic Sub-Committee, and will, after a general<br /> discussion, move its adoption.<br /> 3. Mr. Henry Arthur Jones will propose, and<br /> Mr. R. C. Carton will second, a motion “That the<br /> Government be called upon to carry out the recom-<br /> mendation of the Joint Committee by the establish-<br /> ment of single licence.”<br /> 4. Mr. Bernard Shaw will propose, and Miss<br /> Cicely Hamilton will second, a motion “ That the<br /> Dramatic Sub-Committee take into early considera-<br /> tion the possibility of negotiating a general treaty<br /> with the Managers Association, embodying the<br /> clauses common to all dramatic authors&#039; agree-<br /> ments, with a view to simplifying dramatic<br /> contracts.&quot;<br /> This was the first meeting of the dramatists, as<br /> apart from the other members of the Society, since<br /> the reconstitution of the Dramatic Sub-Committee<br /> two years ago.<br /> Proceedings commenced with the reading by<br /> the secretary, at the request of the chairman, of the<br /> result of the ballot, which was as follows:-<br /> 1. Henry Arthur Jones .<br /> . 85<br /> 2. R. C. Carton . . . . 82<br /> 3. John Galsworthy . . . 79<br /> 4. G. Bernard Shaw<br /> <br /> <br /> ## p. 188 (#258) ############################################<br /> <br /> 188<br /> THE AUTHOR.<br /> .<br /> .<br /> . 71<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> .<br /> 5. H. Granville Barker.<br /> 6. Anstey Guthrie<br /> 7. Captain Basil Hood.<br /> 8. W. Somerset Maugham<br /> 9. Jerome K. Jerome .<br /> 10. Cecil Raleigh. .<br /> 11. Rudolph Besier .<br /> 12. Miss Cicely Hamilton<br /> 13. Miss E. M. Symonds .<br /> 14. J. H. McCarthy .<br /> 15. Mrs. K. C. Thurston.<br /> 16. Mrs. Cohen . . . . 9<br /> The Chairman announced that Mr. John Gals-<br /> worthy had written to him to the effect that,<br /> living as he did in the country, he felt that he<br /> would be unable to serve on the sub-committee, and<br /> accordingly begged to withdraw his name. The<br /> vacancy thus created would be filled by, Miss<br /> E. M. Symonds, the thirteenth on the list.<br /> At this point Mr. R. C. Carton rose to express<br /> his regret that Sir Arthur Pinero had decided to<br /> retire from the Dramatic Sub-Committee. He<br /> hoped that the collective voice of those present<br /> would ask him to reconsider his decision.<br /> Sir Arthur Pinero was sorry to be unable to<br /> accede to this request. He had served for two<br /> years as chairman of the sub-committee and he now<br /> asked for a little holiday. Probably at some future<br /> date he would serve again if desired.<br /> Mr. W. J. Locke then proposed, and Mr.<br /> Cecil Raleigh seconded, that the result of the ballot<br /> should be communicated to the Committee of<br /> Management.<br /> The Chairman then, proceeding to the report<br /> of the Dramatic Sub-Committee, proposed that, as<br /> it was in the hands of all present, it should be<br /> taken as read.<br /> Mr. Cecil Raleigh having proposed, and Mr.<br /> Henry Arthur Jones having seconded, a motion that<br /> the report should be adopted,<br /> Mr. Anthony Hope said that Mr. Raleigh was too<br /> quick for his slow-moving brain. Before the report<br /> was adopted he would like to say a few words.<br /> Referring to the history of the Dramatic Sub-Com-<br /> mittee, he stated that at one time it was a question<br /> whether the dramatists of this country should<br /> not form themselves into a separate body to look<br /> after their interests. The members of the Society<br /> of Authors, however, had a strong feeling that there<br /> should be only one body in charge of the interests<br /> of all authors. The result of this was that the<br /> Dramatic Sub-Committee of the Society was formed<br /> which was in existence. He heartily congratulated<br /> all concerned on the procedure adopted.<br /> The Chairman said that the members of the sub-<br /> committee were very glad to receive Mr. Anthony<br /> Hope&#039;s congratulation, for which they thanked<br /> him.<br /> Mr. Bernard Shaw rose to point out that now<br /> was the time-during the discussion on the report-<br /> for anyone who had any grievance over what had<br /> been done to bring it forward.<br /> No one having anything further to say concern-<br /> ing the report, after a brief discussion as to who<br /> should properly move its adoption, Mr. Walkes<br /> proposed, and Mr. Hope seconded, that the report<br /> should now be adopted. The motion was put and<br /> carried unanimously.<br /> The Chairman then called upon Mr. H. A. Jones<br /> to propose the motion standing in his name, viz.,<br /> “That the Government be called upon to carry out<br /> the recommendation of the Joint Committee by the<br /> establishment of single licence.”<br /> Mr. Jones said that it was about time that this<br /> sketch business was settled. Nearly two years bad<br /> elapsed since the Parliamentary Committee reported<br /> on the point. That committee came to the con-<br /> clusion that the only way to settle the question was<br /> to institute a single licence. In the meantime,<br /> however, the scandal continued. Shakespeare and<br /> himself, he continued amid laughter, were consis-<br /> tently and foully boycotted at the music-halls.<br /> Mr. Lewis Waller&#039;s recent appearance at the<br /> Palladium cost £160, and the magistrate in charge<br /> of the case seemed to think that Mr. Waller and the<br /> management had done something criminal in pro-<br /> ducing the forum scene from “ Julius Cæsar.&quot;<br /> There could be no greater reductio ad absurdum of<br /> the whole business. His own “ Dolly ” sketch, an<br /> easily detachable scene from his comedy “Dolly<br /> Reforming Herself,” was refused just before at the<br /> Coliseum because of an agreement between the<br /> theatre and music-hall managers. For the present,<br /> therefore, he was deprived of his right over his own<br /> property. By this absurd agreement he must wait<br /> for fifteen years before his sketch could be produced<br /> on the music-hall stage. He pointed out that there<br /> were really four bodies of people to be considered in<br /> the matter—the two sets of managers, the authors,<br /> and the public. And why should theatrical<br /> managers object to the performance of the music-<br /> hall sketch ? He instanced the state of things<br /> prevailing elsewhere than in London. At the<br /> Theatre Royal, Dublin, they had a double licence,<br /> for stage-plays and music-hall performances. This<br /> was really only a clumsy way of having a single<br /> licence. If a manager could give a variety enter-<br /> tainment at certain seasons of the year, this would<br /> help him to carry on his theatrical business at<br /> others. Perhaps music-ball managers were afraid<br /> that the introduction of a single licence would<br /> enable the theatres to cut into their business. But<br /> really the public had a right to see whatever sort of<br /> entertainment they desired.<br /> Mr. R. C. Carton, seconding the motion, said<br /> he could add little to emphasize what Mr. Jones<br /> <br /> <br /> ## p. 189 (#259) ############################################<br /> <br /> THE AUTHOR.<br /> 189<br /> had said. He could not imagine a more dangerous, their sketches, if they were free to produce them<br /> a more treacherous state of affairs than was pre- there. Music-halls in the provinces were, as a rule,<br /> vailing at present. It was a contemptible piece of far more attractive than the theatres, clean, bri gh<br /> treachery that the managers should have had and cheerful. The drama there had gone down,<br /> recourse to a miserable old law to prevent dramatic down, down until all that would draw good houses<br /> works being performed at the music-halls. He was something of the class of “ The Best Girl in<br /> could not say all that he thought on the subject, Birmingham ” or “ The Worst Woman in Wolver-<br /> for if he did his language would be such that the hampton.” In London what was wanted was a<br /> chairman would call him to order. Mr. Jones had double licence such as could be got in the provinces.<br /> soffered a particularly painful and cruel injustice ; Perhaps authors did not realise that in the present<br /> and Mr. Jones&#039;s late distinguished colleague, Mr. state of affairs no sketch agreement was even<br /> Shakespeare, was almost an equivalent sufferer. He legal.<br /> referred to the case of Mr. Seymour Hicks, who After calling attention to the fact that not only<br /> attempted to boil down“ Richard III.” into thirty had the sub-committee petitioned the Lord Cham-<br /> minutes. Mr. Hicks found his task an impossible berlain and received a reply, as mentioned in<br /> one, and the result was that he had to cancel bis the report, but also had made a second applica-<br /> engagement, and about two hundred poor supers, tion, and within the last three days received an<br /> who had their bread to earn, and did not find it answer to the effect that the Lord Chamberlain was<br /> easy to earn it nowadays, were thrown out of putting the proposals before the London County<br /> employment. He regretted to say that it was Sir Council-from which it would be seen that matters<br /> Herbert Tree, who had done more for Shakespeare were not standing still-Mr. Raleigh concluded by<br /> than anybody else, who, stepping in to say, “No, saying that what was wanted was one licence for<br /> this shall not be,&quot; was responsible for the existing entertainment, leaving the drink question to be<br /> anomaly. Not only in Dublin, but also in other settled by itself, since it was this question which<br /> provincial towns, the other system was in use ; and now apparently stood in the way. He hoped that<br /> the double licence worked very well. In conclusion, they would one day in the near future call a big<br /> he was glad to see that they had got their Dramatic public meeting of all parties interested to enforce<br /> Sub-Committee on a dimocratic footing. In the their rights.<br /> future the sub-committee would feel that they had The Chairman said that he had been going to ask<br /> something in the nature of a mandate behind Mr. Raleigh for a suggestion as to what further<br /> them ; and thy would not be unmindful of their measures they should take beyond their petition to<br /> responsibility.<br /> the Lord Chamberlain.<br /> Mr. Cecil Raleigh said that he had been called Mr. Raleigh said they (the dramatists) were the<br /> an “expert” on the sketch question, and as such people to call such a meeting as he had suggested.<br /> be was obliged to draw attention to the practical He would not hesitate even, democratic as he<br /> side of the matter, that the number of theatres in was, to present a petition direct to the King<br /> England was not as large as dramatists could wish, himself.<br /> and the music-halls offered them an opening for Mr. Locke said he would like to draw attention<br /> work by which they might earn money to pay to the fact that Sir Herbert Tree had only taken<br /> for their daily bread. The remuneration to be got steps in his capacity of Chairman of the Theatrical<br /> from the halls was desirable during those intervals Managers&#039; Association to stop the representations<br /> when the actor-manager chose to produce the works referred to.<br /> of Shakespeare or some other blank-verse blackleg. The Chairman agreed that this was the case, and<br /> There were no fewer than 150,000 sketch Mr. Shaw said that Sir Herbert Tree in his<br /> performances in England every year—he could personal capacity had strongly advocated a single<br /> assure them of the correctness of the figure—and if licence.<br /> they took the estimate of £10 a week they could The motion was then put, and was carried<br /> work out the sum for themselves. It was a huge unanimously.<br /> industry and involved a capital of millions of Miss Cicely Hamilton, proposing the motion stand-<br /> pounds. Dramatists had a great grievance in the ing in her name, said that it was absolutely necessary,<br /> matter. The question was, what could they do in order to remedy the present state of affairs, that<br /> with their failures if the right of producing the Dramatic Sub-Committee should draw up a<br /> sketches was cut off ? In their worst plays there general treaty, which managers should be called<br /> was generally one good scene which could be used upon to accept, and it should then be an understood<br /> to make a sketch. Those present represented thing that when an author and a manager came to<br /> 240 dramatists. But there were not in England terms the provisions of the general treaty were<br /> 240 theatres suitable for putting on their plays. adopted ipso facto. This would mean a great<br /> There were, however, sufficient music-halls for saving of time, for one thing. There were a great<br /> <br /> <br /> ## p. 190 (#260) ############################################<br /> <br /> 190<br /> THE AUTHOR.<br /> many general conditions which were essential in Mr. Carton having remarked that there had<br /> every contract, and to which no one could possibly already been a lot of consideration given to this<br /> object. She had herself suffered much from the point on the Dramatic Sub-Committee, Mr. Shaw<br /> absence of such a treaty. She was subject, as she said those present at the meeting might guess that<br /> supposed others too were subject, to hot fits and the spade-work had been done.<br /> cold fits concerning her work. And in a cold fit Mr. S. M. Fox bringing up the subject of con-<br /> one was ready to make the worst of bargains. tracts made by agents, Mr. Shaw derided the<br /> Mr. Bernard Shaw said that he seconded the pretensions of agents to place plays. Authors<br /> motion with great pleasure. Such an agreement as could do the work much better themselves.<br /> that suggested was badly needed. The condition Mr. Sydney Grundy, referring to Mr. Shaw&#039;s<br /> of affairs with regard to dramatic authors in this suggestion concerning the West End Managers&#039;<br /> country was really extraordinary. The 240 Association, said that this was the right body to<br /> dramatist members of the Society of Authors were approach. It would be useless negotiating with<br /> practically all the dramatic authors in the country the “ Managers&#039; Association.&quot;<br /> capable of producing actable stage plays. There The Chairman proposed to adopt this as an<br /> was no monopoly like it in the world, and they amendment, which was accordingly done.<br /> ought to be able by combining together to get Mrs. Cohen expressed her fear that the general<br /> almost any terms short of making the business treaty would be against the interests of the young<br /> unprofitable to the speculator. Yet only within author, whom it would prevent from obtaining a<br /> the last three weeks he had heard of the case of a hearing at all.<br /> dramatist who had a play produced at a first-class Mr. Grundy agreed that they must consider the<br /> London theatre and got one per cent. of the proceeds. position of untried authors. If he were a young<br /> The author appeared to have made no conditions beginner he would not hesitate to write across his<br /> whatever save with regard to this one per cent., play : “You may play this for nothing.&quot;<br /> from which he was likely to get less than he would Mr. Shaw said that what they wanted to do<br /> by working as a dock-labourer.<br /> was to discourage unscrupulous blacklegging and<br /> One of the difficulties he met with was that undercutting, and if they failed in this they would<br /> people said to him : &quot; Oh, it&#039;s all very well for you, be broken like the sticks separated from the<br /> for Pinero, for the leading lights, to make your bundle.<br /> terms—but what about the beginner ? ” But this Mr. Charles Garvice asked if all well-known<br /> argument was all wrong. The beginner might dramatists would stand by the Society in whatever<br /> well be in a better position than Sir Arthur Pinero. action it might take.<br /> When the managers wanted plays, it was the Mr. Shaw said they might say : We will not<br /> opportunity of the young beginner.<br /> deal with any theatres not accepting this treaty.<br /> In a general treaty such as suggested at least Mr. Raleigh said that when they stuck together<br /> twenty clauses would be found necessary—and they would get their treaty, just as the music-hall<br /> could a young author each time he made a contract artistes recently gained their object by com-<br /> argue over twenty clauses ? A general treaty bination. But they would not get a trades union<br /> would include these clauses and obviate dis- in this country yet for dramatists. Let the<br /> cussion. He himself, when he dealt with managers, instruction of the meeting to the Dramatic Sub-<br /> put forward a long agreement and said : “ Will Committee be to go slowly and carefully.<br /> you sign these twenty clauses or will you argue Miss Festing bebought them not to be too bard<br /> them out with me?” The manager always said on the small people, whom trades unionism might<br /> he would sign.<br /> crush out of existence. Let them not make the<br /> It did not matter, Mr. Shaw continued, whether rules of the game too hard for the small people to<br /> they converted all the managers to accepting the play it.<br /> general treaty. Why not negotiate it with the The Chairman explained that during the past<br /> West End Managers&#039; Association ? That would be two years the Dramatic Sub-Committee had<br /> sufficient. With regard to the general treaty always borne this in mind, and in the future also<br /> already in existence in France, it was of incredible they would never forget the interests of the young<br /> stringency. For instance, the French manager author.<br /> had to account to the author for every seat in the The resolution was put and carried unanimously.<br /> house, and in addition to furnish him with a large The proceedings then terminated.<br /> number of seats. He did not say that a general<br /> treaty on this model was needed here. Indeed he<br /> hoped that they would not be tyrannical. A good<br /> man of business would prefer a bargain that was<br /> good for both sides..<br /> <br /> <br /> ## p. 191 (#261) ############################################<br /> <br /> THE AUTHOR.<br /> 191<br /> Cases.<br /> The statement of the cases in the solicitors&#039;<br /> DURING the past month fifteen oases have been hands will be found in the committee notes.<br /> placed in the hands of the secretary, Perhaps it<br /> would be as well once again to explain the term<br /> “ cases.&quot; These are matters in which the secre-<br /> April Elections.<br /> tary, intervening between an author, dramatist Albanesi, Madame . 3, Gloucester Terrace,<br /> or composer, and the disputant on the other<br /> Hyde Park, W.<br /> side, takes up the matter in order to obtain a Arthur. Lady . . 23. The Boltons, S.W.<br /> settlement of the member&#039;s rights ; in opposition Bean, C. E. W. . . &quot; Sydney Morning<br /> to those matters in which the society, through its<br /> Herald,” 40, King<br /> secretary, gives advice merely, or in opposition to<br /> Street, Cheapside,<br /> those matters which are placed in the hands of the<br /> E.C.<br /> solicitors of the society either for action or for Besier, Rudolf . . St. Augustine&#039;s Man-<br /> advice.<br /> sions, Westminster,<br /> There have been three cases dealing with the<br /> S.W.<br /> question of accounts. In all three the accounts E. M. Channon (Mrs.<br /> have been rendered. In one the matter has been Francis Channon) Eton College, Windsor.<br /> settled absolutely, but the other two are still in de Knoop. Baroness , 31, Rutland Gate, S.W.<br /> course of negotiation for particulars with regard to Fox, Miss Agnes . . Kippington Grange.<br /> certain items.<br /> Sevenoaks.<br /> There bas been one application for accounts Gamble, Frau Kathleen. Wullenweberstrasse. 7.<br /> and money. Here the accounts have been<br /> Berlin, N.W., Ger-<br /> rendered and the money paid.<br /> many.<br /> There have been four applications for money Kitts. Eustace John . Eversleigh, West<br /> only. In one of these, part of the money has been<br /> Worthing.<br /> paid, and the secretary has given fnrther time for Langworthy, Mrs. C. D.<br /> payment of the balance before the matter is placed (Ferrier Langworthy). The Fuchsias, Clay-<br /> in the hands of the society&#039;s solicitors. The other<br /> gate, Surrey.<br /> three cases only came into the office just before Palmer, G. Molyneux . Tullagee, Willingdon,<br /> going to press.<br /> Eastbourne.<br /> There have been two cases of infringement of Phibbs, Miss Lena Stan-<br /> copyright, one of which has been placed in the ley . . . . Helensdene, Church<br /> hands of the solicitors, and the other has been<br /> Road, St. Leonards-<br /> satisfactorily settled.<br /> on-Sea.<br /> Three applications have been made for the return Prothero, Miss J. K. . 17, Wolverton Gardens.<br /> of MSS. In two of these the MSS. have been<br /> West Kensington.<br /> returned by the editors to the office, and in the Robbins, Miss Alice E. . 57, Warrington Cres-<br /> other, a dispute with an agent, the matter is<br /> cent, W.<br /> practically settled, as the agent has undertaken Thorold, Rupert A. . Kildonagh, Sligo, Ire-<br /> to return the MS. as soon as it comes back from<br /> land.<br /> the publisher with whom it lies.<br /> Urquhart M. .<br /> One dispute on an agreement for publication is<br /> Visiak, E. H. (E.<br /> Vis<br /> H.<br /> still in course of negotiation. The matter needs Phrainly<br /> &quot;. 30, Cavendish - road,<br /> careful adjustment.<br /> Brondesbury, N.W.<br /> Finally, there is one case with regard to trans-<br /> Ward, Leslie . 279, Knightsbridge,<br /> lation rights in Germany, which the secretary is<br /> S.W.<br /> endeavouring to settle through the German<br /> Wicks, Mark . . 19, Liverpool Road,<br /> Consul.<br /> Thornton Heath.<br /> The cases from former months have been closing<br /> (One member does not desire publication.)<br /> up. Two cases in America are still open. A<br /> difficult matter dealing with the settlement and<br /> cancellation of an agreement is waiting for a<br /> board meeting of the Publishing Co. The only BOOKS PUBLISHED BY MEMBERS.<br /> case remaining open besides these, a case of money<br /> due from an editor, will have to be placed in the<br /> hands of the society&#039;s solicitors, as it has been<br /> WHILE every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> impossible to get any answer to the letters sent<br /> some difficulty in attaining this object owing to the fact<br /> from this office,<br /> that many of the books mentioned are not sent to the office<br /> <br /> <br /> ## p. 192 (#262) ############################################<br /> <br /> 192<br /> THE AUTHOR.<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate,<br /> AGRICULTURE.<br /> RURAL DENMARK AND ITS LESSONS. By H. RIDER<br /> HAGGARD. 9 X 54. 335 pp. Longman&#039;s. 6s. 6d. n.<br /> ART.<br /> OLD CHINESE PORCELAIN AND WORKS OF ART IN CAINA.<br /> By A. W. BAHR. 104 X 61. 160 pp. Cassell. 308.<br /> BIOGRAPHY.<br /> RACHEL : Her Stage Life and her Real Life. By FRANCIS<br /> GRIBBLE. 9 x 58. 276 pp. Chapman &amp; Hall. 158. n.<br /> DRAMA.<br /> LYSISTRATA : A Modern Paraphrase from the Greek of<br /> Aristophanes. By LAURENCE HOUSMAN. 74 x 5.<br /> 77 pp. The Woman&#039;s Press. 18. n.<br /> LADY PATRICIA : A Comedy in Three Acts. By RUDOLF<br /> BESIER. 78 X 51. 215 pp. Fisher Unwin. 28. n.<br /> &quot;THE FOUNTAIN. By GEORGE CALDERON. 54 X 4. 161 pp.<br /> Gowans &amp; Gray. 6d, n.<br /> ECONOMICS.<br /> SELLING SCHEMES FOR RETAILERS. Proved Methods<br /> which will Help the Retailer to do More Trade. By<br /> MAX RITTENBURG. 7} X 5. 188 pp. Routledge. 18.<br /> FICTION.<br /> BRAZENHEAD THE GREAT. By MAURICE HEWLETT,<br /> 71 x 5. 333 pp. Smith, Elder. 68.<br /> THE STREET OF TO-DAY. By John MASEFIELD. 74 x 5.<br /> 392 pp. Dent. 68.<br /> DOUBLE LIVES. By FRANCIS GRIBBLE. 71 X 5. 352 pp.<br /> Nash. 68,<br /> THE ELDEST SON. By ARCHIBALD MARSHALL. 7* X 51.<br /> 344 pp. Methuen. 6s.<br /> DICK COMERFORD&#039;S WAGER. By A. P. CROUCH. 74 X 5.<br /> 283 pp. Robert Scott. 6s.<br /> THE SHADOW OF THE MALREWARD. By J. B. HARRIS-<br /> BURLAND. 78 X 5. 411 pp. Chapman &amp; Hall. 68.<br /> THE SEA LION. &quot;By PATRICK RUSHDEN. 78 x 5. 448 pp.<br /> Mills &amp; Boon. 68.<br /> PHYLLIS IN MIDDLEWYCH. By MARGARET WESTRUP<br /> (MRS. W. SYDNEY STACEY). 71 x 44. 320 pp. Lane.<br /> 1s.<br /> JOHN CHRISTOPHER: STORM AND STRESS. By ROMAIN<br /> ROLLAND. Translated by GILBERT CANNAN. 71 x 5.<br /> 412 pp. Heinemann. 6s.<br /> VITTORIA VICTRIX. By W. E. NORRIS. 73 5. 283 pp.<br /> Constable. 68.<br /> LOVE IN PERNICKETTY Town. By S. R. CROCKETT.<br /> 73 X 5. 320 pp. Hodder &amp; Stoughton. 68.<br /> CAPTAIN BLACK. By Max PEMBERTON. 78 x 5. 338 pp.<br /> Cassell. 6s.<br /> THE GENERAL PLAN. By EDMUND CANDLER. 74 x 5.<br /> 306 pp. Blackwood. 68.<br /> A BED OF Roses. By W. L. GEORGE. 74 5. 384 pp.<br /> F. Palmer. 6s.<br /> LOVE IN THE BALANCE. By ALICE WILSON Fox. 77 x 5.<br /> 311 pp. F. V. White. 68.<br /> THE PRICE. By GERTIE DE S.WENTWORTH JAMES. 78 X 5.<br /> 319 pp. Everett. 68.<br /> A ROGUE IN AMBUSH. By HEADON HILL. 74 x 5. 316 pp.<br /> Ward, Lock, 68.<br /> DEAD MAN&#039;S LOVE. By Tom GALLON. 74 x 5. 316 pp.<br /> Ward, Lock. 68.<br /> THE JEWESS. By MOLVY OUSELEY. 78 x 5. 366 pp.<br /> John Ouseley. 68.<br /> “THALLASSA I&quot; By MRS. BAILLIE REYNOLDS. 61 X 45.<br /> 320 pp. Hutchinson. 7d. n.<br /> THE GREAT GAY ROAD. By Tom GALLON. 7 x 47. 317 pp.<br /> Long. 1$. n.<br /> THE WOMAN IN THE FIRELIGAT. By OLIVER SANDYS.<br /> 78 x 54. 283 pp. Jong Long. 68.<br /> MRS. THOMPSON. By W. B. MAXWELL. 74 x 5.383 pp.<br /> Hutchinson. 68.<br /> DIVIDING WATERS. By J. A. R. WYLIE. 74 x 5. 411 pp.<br /> Mills &amp; Boon. 6s.<br /> Two GIRLS AND A MANNIKIN. By WILKINSON SHERREN,<br /> 74 X 5. 336 pp. Stanley Paul. 68.<br /> THE MAGIC OF THE HILL: A ROMANCE OF MONTMARTRE,<br /> By DUNCAN SCHWANN. 78 X 5. 284 pp. Heinemann. 68,<br /> JOHN VERNEY. By H. A. VACHELL. 71 X 5. 338 pp.<br /> Murray. 6$.<br /> JOAN OF THE TOWER. By WARWICK DEEPING. 74 x 5.<br /> 399 pp. Cassell. 6s.<br /> THE SOCIALIST COUNTESS. By HORACE W. C. NEWTE.<br /> 78 X 5. 312 pp. Mills &amp; Boon. 68.<br /> Moil o&#039; THE TOLL BAR. By THEODORA WILSON-WILSON.<br /> 73 X 5. 350 pp. Hutchinson. 6s.<br /> THE GOVERNOR&#039;S DAUGHTER. By NORMAN INXES.<br /> 78 X 5. 352 pp. Ward, Lock. 6s.<br /> THE WOMAN IN IT. By CHARLES GARVICE. 71 x 5.<br /> 349 pp. Hodder &amp; Stoughton. 68.<br /> HAUNTED. By GERTRUDE WARDEN. 74 X 5. 320 pp.<br /> Ward, Lock. 68.<br /> JANE. By MARIE CORELLI. 7 X 41. 142 pp. Methuen.<br /> 18. n.<br /> TONO-BUNGAY. By H. G. Wells. 67 x 47. 383 pp.<br /> Macmillan. id.n.<br /> THE PILGRIMAGE OF DELILAH. By JOHN L. CARTER.<br /> 74 X 5. 320 pp. John Long. 68.<br /> THE QUEEN&#039;S HAND. By MRS. BAILLIE REYNOLDS.<br /> 7 X 5. 344 pp. Mills &amp; Boon. 68.<br /> THE YELLOW GOD: AN IDOL OF AFRICA. By H. RIDER<br /> HAGGARD. 78 X 5. 352 pp. Cassell. 18. n.<br /> THE WATERS OF JORDAN. By H. A. VACHELL. 64 X 44.<br /> 281 pp. Nelson. 7d. n.<br /> THE HOUSE of INTRIGUE. By PERCY WHITE. 61 X 41.<br /> 320 pp. Hurst &amp; Blackett. 7d. n.<br /> A QUESTION OF QUALITY. By MADAME ALBANESI.<br /> 64 X 41. 320 pp. Hurst &amp; Blackett. 7d. n.<br /> THE GREAT BETRAYAL. By HAROLD WINTLE. 312 pp.<br /> John Ouseley, Ltd. 68.<br /> JOHN MERRIDEW. By F. ARTHUR. Longmans. 68.<br /> LITERARY.<br /> SUCCESS IN LITERATURE. By W. MORRIS COLLES and<br /> HENRY CRESSWELL. 7 x 41. 360 pp. Methuen. 58. n.<br /> SOME SUPPOSED SHAKESPEARE FORGERIES. By ERNEST<br /> LAW. 81 x 63. 80 pp. Bell. 38. 6d. n.<br /> LOVE AND EXTRĀs. By FRANK RICHARDSON. 78 X 6.<br /> 305 pp. Grant Richards. 68.<br /> MEDICAL.<br /> FAITH MEDICINE AND THE MIND. By CHARLES<br /> REINHARDT, M.D. 74 X 41. 281 pp. London<br /> Publicity Company.<br /> MISCELLANEOUS.<br /> A SHORT HISTORY OF WAR AND PEACE. By G. H. PERRIS.<br /> 63 X 41. 256 pp, Williams &amp; Norgate. 18. n.<br /> MAN : KING OF MIND, BODY AND CIRCUMSTANCE, By<br /> JAMES ALLEN. 70 pp. William Rider &amp; Son,<br /> NATURAL HISTORY,<br /> A HISTORY OF BRITISH MAMMALS. By G. E. H. BARRETT-<br /> HAMILTON. Part V. Gurney &amp; Jackson. 28. 6d. n.<br /> <br /> <br /> ## p. 193 (#263) ############################################<br /> <br /> THE AUTHOR.<br /> 193<br /> POETRY.<br /> Messrs. Chapman &amp; Hall are publishing a new<br /> FLINTS AND FLASHES. By E. H. VISIAK. 7 * 47. 42 pp. novel by Mrs. Fred. Reynolds, entitled “The<br /> Elkin Mathews. ls. 6d. n.<br /> Horseshoe.” It deals largely with the life,<br /> POLITICAL<br /> customs and quaint beliefs of the Cornish people,<br /> for the study of whom Mrs. Fred. Reynolds has<br /> RUSSIAN FLASHLIGHTS. By JAAKOFF PRELOOKER. With<br /> a Biographical Sketch of the Author. 9 x 51. 310 pp.<br /> had exceptional opportunities, having recently<br /> Chapman &amp; Hall,<br /> passed two years in a fisherman&#039;s cottage at<br /> REPRINT<br /> Sennen Cove, a tiny village under the granite<br /> THE NATURAL HISTORY OF SELBORNE. By GILBERT cliffs within a mile of Land&#039;s End.<br /> WHITE. With notes by R. KEARTON. 73 x 54. 294 pp. Mr. Elliot Stock is issuing &quot;A Marriage<br /> Cassell. 3x. 6d.<br /> THE DOUBLE GARDEN, By MAURICE MAETERINCK.<br /> Hymnal,” by James Saunders, consisting of over<br /> Translated by ALEXANDER TEIXEIRA DE MATTOS. eighty new hymns specially suited for weddings,<br /> (Pocket edition). 61 X 4. 293 pp. Allen. 28. 63, n. and fitted for a wedding present or souvenir.<br /> SOCIOLOGY.<br /> A third West African novel from Miss Louise<br /> Gerard may be expected some time before the<br /> THE POSITION OF WOMAN: ACTUAL AND IDEAL. With a<br /> Preface by SIR OLIVER LODGE. 8 x 51. 170 pp. Nisbet.<br /> autumn. Messrs. Mills &amp; Boon will publish the<br /> 38. 60. n.<br /> novel, which will be called “A Tropical Tangle.”<br /> SPORT.<br /> Messrs. James Baker &amp; Son (Clifton) will<br /> RACING AT HENLEY. From reports printed in The Field publish early in May a book of Fairy Tales of<br /> newspaper from 1903 onwards. Edited, with a Preface, Ashdown Forest, Sussex, called “ Across the<br /> by T. A. Cook. 7 X 44. 209 pp. Horace Cox. 38. 6d. n. Forest and Far Awas.&quot; by Geraldine E. Hodgson.<br /> TOPOGRAPHY.<br /> D.Litt. The volume will contain three illustra-<br /> THE PLACE-NAMES OF BERKSHIRE. By the Rev. WALTER tions by Gerald G. Hodgson, M.R.C.S., and will be<br /> W.SKEAT. 67 x 43. 118 pp. Oxford: Clarendon Press. published at 1s, 6d. net.<br /> London : Frowde. 28. n.<br /> Miss Renée M. Deacon, whose book “ Bernard<br /> TRAVEL.<br /> Shaw as Artist Philosopher,” published in England<br /> AS EASTERN MISCELLANY. By the EARL OF RONALDSHAY,<br /> and America last year, was mentioned in these<br /> M.P. 9 x 58. 422 pp. Blackwood. 108. 6d. n. columns, was also represented in The Lady&#039;s<br /> Pictorial of October 1 and October 8, 1910,<br /> by two articles. To the former issue Miss Deacon<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> contributed an article on “ The Art of Life,” and to<br /> the latter one entitled “ The Spell of London.”<br /> NOTES.<br /> At a session held on the 10th instant, the Royal<br /> Academy of Arts of Madrid elected Mr. James<br /> 6 THE NEW LIFE,&quot; by Dante, has been Baker as an Hon. Corresponding Member of<br /> l published by Messrs. Kegan, Paul &amp; Co., England. Mr. Baker has written much upon<br /> in the Italian text with English transla- Spain.<br /> tion. The work is edited by Mr. Luigi Ricci. Miss A. E. Keeton will give a course of three<br /> We have also received the second and third<br /> lectures on the individuality of modern British<br /> volumes of the lectures of the Dante Society. music as shown in the songs of our younger school<br /> Among the lecturers we notice the names of the of composers, at 133, Queen&#039;s Gate, S.W. (by kind<br /> founder of the society, Mr. Luigi Ricci, Mrs. permission of Miss Douglas), on the three first<br /> Craigie, Mr. Alfred Austin, Dean Kitchin, and Friday evenings in May. Miss Grainger-Kerr will<br /> Mr. Gladstone.<br /> sing the vocal illustrations with Miss Marjorie<br /> At a meeting of the Sociological Society, held at Adam at the piano. At the head of the contem-<br /> the Royal Society of Arts, 18, John Street, porary school of British musicians, dealt with by<br /> Adelphi, W.C., on April 4, Dr. D. S. Margoliouth, Miss Keeton, stand in priority of age Elgar,<br /> Laudian Professor of Arabic, University of Oxford, Granville Bantock, Ernest Walker, and William<br /> read a paper on the Universal Races Congress. Wallace. Amongst the younger men are Ernest<br /> The chair was taken by Sir Edward Brabrook, Austin, Alfred Hale, J. Holbrooke, Frederick C.<br /> K.C.B.<br /> Nicholls, Norman O&#039;Neill, Percy Rideout, Cyril<br /> “ The Great Betrayal” is the title of a new Scott, and R. Vaughan Williams. A group of<br /> povel by Mr. Harold Wintle, author of “The representative songs by British women composers<br /> Cleansing of the Lords.” The theme of the story is also included.<br /> is the efforts of a foreign Power to obtain British “The Evolution of Katherine,&quot; one of Mr. E.<br /> State secrets with the connivance of the Foreign Temple Thurston&#039;s novels, will shortly be issued<br /> Secretary. Messrs. John Ouseley, Limited, are the in sixpenny form in Mesars. Stanley Paul &amp; Co.&#039;s<br /> pablishers.<br /> Series of “ clear type” sixpenny novels.<br /> <br /> <br /> ## p. 194 (#264) ############################################<br /> <br /> 194<br /> THE AUTHOR.<br /> Mr. Arthur Beckett&#039;s new book is announced was produced at the Royalty Theatre, Glasgow, on<br /> for publication in July by Messrs. Mills &amp; Boon. March 29. The play relates to the determination<br /> The volume is entitled “The Wonderful Weald, of a young lady to make a bold stand against con-<br /> and the Quest of the Crock of Gold.” It tells the vention by telling, however distasteful to the<br /> story of how the author and his companion made listeners, nothing but the truth. Miss Muriel<br /> a twentieth century pilgrimage in the Weald of Pope, Mr. Frank Dyall, and Miss Agnes Imlay<br /> Sussex in quest of the “crock of gold which lies were three members of the caste.<br /> at the foot of the rainbow.&quot; It is therefore a “The Sins of Society,&quot; by Cecil Raleigh and<br /> record of “high adventure&quot; in the mediæval Henry Hamilton, was revived at Drury Lane<br /> manner. The pilgrims set out after the fashion Theatre on March 30. In the caste were Mr.<br /> of Don Quixote, with a donkey for their Rosinante. George Barrett, Mr. Frederick Ross, Miss Fanny<br /> The book is illustrated with twenty full-page Brough, and Mrs. Langtry.<br /> drawings in colour, and forty-one black-and-white Mr. C. Haddon Chambers&#039; new play “ Passers<br /> chapter initials, illustrating Wealden incidents and By” was produced at Wyndham&#039;s Theatre on<br /> scenery, by the Sussex artist, Mr. E. F. Marillier. March 29. The play opens in a bachelor&#039;s apart-<br /> Mr. Bloundelle-Burton&#039;s new novel “ Under the ments in Piccadilly, and when the curtain rises it<br /> Salamander”-the badge of Francis 1.-deals, is seen that the bachelor&#039;s man has admitted a<br /> obviously, with the reign of that monarch, and, cabman and treated him to his master&#039;s cigars. At<br /> also, with the betrayal of France to Charles V. of first angry, the bachelor eventually repents, and, in-<br /> Spain by the notorious favourite, La Duchesse deed, goes so far as to call in other passers-by.<br /> Etampse. To a very considerable extent the The story begins when he calls in a woman with<br /> author has followed closely the manner of that whom he has had in the past a serious love affair,<br /> betrayal, while investing the hero, an actual and the rest of the play deals with situations arising<br /> character, with all the romantic adventure for out of this. In the caste were Mr. Gerald Du<br /> which the period was renowned. The heroine Maurier, Miss Irene Vanbrugh, and Mr. O.P. Heggie<br /> who, under another name, was also an existent “Queen Herzeleid,&quot; a poetic play in three acts,<br /> personage, also plays a strong part ; and, indeed, by Isabel Hearne, was produced by the Play Actors<br /> while trusting to his powers of construction and at the Court Theatre on Sunday, April 2. The<br /> invention, Mr. Bloundelle-Burton scarcely depicts caste included Miss Frances Wetherall, Mr. Frede-<br /> one character that did not exist at the period, rick Worlock, and Miss Adeline Bourne.<br /> from Francis downward. Everett &amp; Co. are the “ The Master of Mrs. Chilvers,&quot; a comedy in four<br /> publishers.<br /> acts, by Jerome K. Jerome, was produced at the<br /> Mr. James Allen has just published, through King&#039;s Theatre, Glasgow, on April 10. The play<br /> Messrs. William Rider &amp; Son in England. and treats of the women&#039;s franchise question, and the<br /> Messrs. T. W. Crowell &amp; Co. in New York, a new two main characters are a politician and his wife,<br /> work entitled “Man: King of Mind, Body and who meet in conflict on the political field. Miss<br /> Circumstance.&quot;<br /> Mary Rorke, Miss Lena Ashwell, Mr. Dennis<br /> Dr. Charles Reinhardt&#039;s new book, “Faith, Eadie, and Mr. Leon Quartermaine are in the<br /> Medicine, and the Mind,&quot; published by the London caste.<br /> Publicity Company, is an attempt to offer a rational “At the Court of Xerxes,&quot; by Mildred Wetton,<br /> explanation of faith healing, hypnotism and kindred was produced at the Little Theatre on April 6. It<br /> phenomena. The author has, as far as possible, is a biblical play in four acts. It opens with the<br /> left subjects of religious opinion alone, whilst refusal of Queen Vashti to appear unveiled before<br /> endeavouring to throw some light upon the the king and his court. The second act is con-<br /> psychology of the faith that heals.<br /> cerned with Haman&#039;s successful plot to make<br /> Ahasuerus order the destruction of the Jews, and<br /> DRAMATIC.<br /> the third and fourth acts deal with the final deliver-<br /> “James and John,&quot; a one-act play by Gilbert ance of the Jews at the intercession of Queen<br /> Cannan, was produced at the Haymarket Theatre Esther. The caste included Miss Marguerite<br /> on March 27. The theme is the return to his Walton, Miss Mary Whittall, and Miss Jean<br /> family of a man who has been sentenced to im- Colmer.<br /> prisonment for embezzlement, and the receptions The Women&#039;s Aerial League is organising per-<br /> which the different members of the family give to formances of Maeterlinck&#039;s “ Monna Vanna,&quot;<br /> him on his arrival. The play was performed by translated by Alfred Sutro, on Thursday and<br /> a caste including Mr. James Hearne, Miss Helen Friday, June 1 and 2, at the Royal Court Theatre,<br /> Haye, and Mr. J. Fisher White.<br /> for the members of their league and their friends.<br /> Mr. Keble Howard&#039;s comedy “The Girl Who This is the first production in English of this<br /> Couldn&#039;t Lie,” based upon his story of that name, play.<br /> <br /> <br /> ## p. 195 (#265) ############################################<br /> <br /> THE AUTHOR.<br /> 195<br /> PARIS NOTES.<br /> Among the new books are “ Silhouettes his-<br /> toriques,” by the Marquis de Ségur; “ La Liseuse,”<br /> T the recent general meeting of the Société by Léon Frapié; “ Figures Littéraires,” by Lucien<br /> A des Gens de Lettres, M. Funck Brentano Maury.<br /> read the report.<br /> “ Visages d&#039;hier et d&#039;aujourd&#039;hui,&quot; by André<br /> Prince Roland Bonaparte had placed at the Beaumier, is the title of the volume of sketches<br /> command of the society a second annuity of 1201. given by this author with great delicacy and cor-<br /> as a prize for literary work. The two annuities rectness. Among the “ visages d&#039;hier” are the<br /> have been attributed this year to Georges Lecomte Vicomte de Vogüé, Jean Moréas, Albert-Vandal,<br /> and Louis Bertrand.<br /> Edouard Rod, Jules Renard, Mark Twain, Frémiet<br /> A biennial prize has been founded by Dr. Charles and Lombroso, whilst among the “ visages<br /> Richet, to be awarded “ without distinction of sex d&#039;aujourd&#039;hui” we have Henri Poincaré, Jules<br /> or nationality, to a doctor of medicine or of science Huret, Mgr. Duchesne, Gabriel Faure, Jules<br /> who has written within the preceding six years, in Lemaitre. M. Beaunier&#039;s portraits are always true<br /> the French language, the best literary work.” to life, and those contained in this volume are<br /> Jean Revel has founded a prize to be awarded to remarkably well drawn.<br /> a provincial writer whose work shall give the phy- “La Société française du XVI° siècle au XX ®<br /> siognomy, habits and customs of his province. The siècle” is another volume by M. Victor du Bled<br /> prize has been awarded this year to Hugues Lapaire. belonging to his eighth series of books on the sub-<br /> Among members of the society who have won ject of French society. This volume is just as<br /> Academy prizes this year are Mmes. Thélen, Leroy- interesting as his earlier ones, and will be read<br /> AHais, and Mlle. de Mestral-Combremont, Mme. eagerly by all those who have attended M. dn<br /> Delorme, Jules Simon, MM. Charles Géniaux, Bled&#039;s delightful lectures. The second part of the<br /> Fernand Dacre, Lucien Bonnefoy, Léon Barry, book contains an account of “Le Monde de<br /> Henri Allorge, Ernest Gaubert, and the Abbé Moïse l’Emigration.”<br /> Cagnac.<br /> Gyp has just published another of her amusing<br /> The decoration of the Legion of Honour has been volumes of dialogues, “L&#039;Affaire Debrouillar-<br /> awarded to Henry Bordeaux, Ernest Gay, Eugène Delatamize.” The first one in the book, gives<br /> Le Mouël, Léon Riotor, Jules Troubat, and Camille its title to the volume. There are fifteen<br /> Vergniol.<br /> dialogues, and each one full of this author&#039;s<br /> The four great literary events of the year are brilliant wit, satire and humour.<br /> the rocognition of the literary rights of French “ La Revision des Valeurs de la Femme &quot; is the<br /> authors in the Argentine Republic, in Portugal and title of a curious and interesting book of thoughts<br /> Brazil ; the founding of the fund for the widows and ideas by Léonie Bernardini-Sjoestedt. It is<br /> of authors, and of the loan fund for authors. divided into six parts : “ La Revision des Valeurs<br /> It is to Jules Huret, Pierre Baudin, and Georges de la femme,” “La Généalogie des Valeurs de la<br /> Clémenceau that French authors may attribute femme,&quot; “ L&#039;inferiorité intellectuelle de la femme,”<br /> their triumph in the Argentine Republic, and largely “ La Mystique du Grand Amour,&quot; “ L&#039;internelle<br /> to Jules Mary for the recognition of authors&#039; rights consolation,&quot; &quot; Le Catholicisme comme symbolique<br /> in Portugal.<br /> de l&#039;amour,” “L&#039;amour de l&#039;enfant.” The post-<br /> Pierre Decourcelle is responsible for the founding script is entitled “L&#039;Evangile de la femme.” The<br /> of the widows&#039; fund, and Marcel Prevost for the book is written by a Frenchwoman, and some of<br /> authors&#039; loan fund.<br /> the ideas contained in it are both new and pro-<br /> The list of deaths this year is long; Quentin found, whilst much of the psychology is extremely<br /> Bauchard, Albert Vandal, Jules Renard, André subtle.<br /> Chadourne, Des Granges, Boussenard, Bertol- “Marie Malibran,&quot; by Arthur Pougin, is the<br /> Graivil, Charles Legrand, Jules Breynat, José de story of this gifted woman&#039;s life.<br /> Campos, Armand Dubarry, Jean Lionnet, Léon The whole Garcia family have led interesting<br /> Bienvenu; Mme. Elise Michel, better known as lives, and have been so intimately connected with<br /> Jean Dalvy; Mme. Piazzi, who wrote as Leila England that the volume could not fail to give<br /> Hanoum ; and Mme. de Saint-Vidal.<br /> pleasure there. The book has been compiled with<br /> The Langlois prize for the best translation in great care, and many interesting letters are published.<br /> verse or prose of a work from the Greek or from Albert Besnard, whose fame as an artist is world-<br /> any modern language has been divided between wide, appears to be able to succeed in all he under-<br /> M. Pelisson, for his translation of “ Heine&#039;s Songs takes. At the exhibition of his collected pictures<br /> and Poems”; M. de Coussange, for “Indi. some years ago in Paris, it was a revelation to many<br /> vidualism,” by Ellen Key; and Georges Grappe, of his admirers that he had worked on so many<br /> for Barett Wendel&#039;s “ France of To-day.”<br /> · different lines. Widely different as the subjects,<br /> <br /> <br /> ## p. 196 (#266) ############################################<br /> <br /> 196<br /> THE AUTHOR.<br /> styles, colouring, and technique were, the master donymous and non-copyright books, was decided<br /> hand could be traced unmistakably. The collec- by the Supreme Court of the State of New York in<br /> tion was a huge one; there seemed to be the work of favour of the defendants.<br /> two or three lifetimes on the walls, and since that Nathan Burkan appeared for the plaintiff.<br /> exhibition the great artist&#039;s hand has never been Andrew Gilhooly was counsel for Hurst &amp; Co.<br /> idle. At present we are to see him under a new The following is the opinion of Judge Green-<br /> light. M. and Mme. Albert Besnard have been baum:<br /> travelling in India, and the painter is now giving “This action is brought under sections 50 and<br /> us a series of word pictures as graphic and as full 51 of the Civil Rights Law (1 Consolidated Laws<br /> of life and colour as his canvases.<br /> of 1909, page 308) to enjoin the publication and<br /> &quot; De Marseilles à Port Saïd &quot; is the first of the sale by defendants of certain books with the<br /> series, an admirable description of the impressions imprint of plaintiff&#039;s name on the covers in which<br /> of an artist accustomed to noting the details which they are bound and the wrappers in which they are<br /> count, and of rendering the values and effects with inclosed. The plaintiff is an author of standing<br /> inimitable skill and feeling.<br /> and reputation, who has written juvenile and<br /> Paul Bourget&#039;s play, “Le Tribun,” is still being historical works during the past forty years.<br /> given at the Vaudeville, and “L&#039;Oiseau bleu” at Among his earlier juvenile works are two, entitled<br /> the Théâtre Rejane. At the Renaissance “ La “In the Apache Country and The White<br /> Gamine&quot; is being played, and at the Théâtre des Mustang,&#039; which he published in 1888 and 1889<br /> Arts “ Les Frères Karamazov.&quot;<br /> respectively under the assumed name of · Lieu-<br /> The Shakespeare League is now formed, and tenant R. H. Jayne,&#039; and which have never been<br /> M. Camille de Sainte-Croix wishes to express his published by plaintiff or his authority in connection<br /> thanks to the readers of The Author who have sent with his own proper name. It appears that neither<br /> particulars of Shakespearean Societies in England. of these publications was ever copyrighted, and no<br /> À performance of “The Merchant of Venice&quot; is claim in respect of said stories is made under the<br /> to be given in French by his Shakespeare Theatre copyright laws of the United States. Defendants,<br /> Company on May 11 as a matinée at the Trocadero. book publishers, have published and offered for<br /> Numbers of people are joining the league, the sale printed copies of each of said literary pro-<br /> object of which is to give publicity and help to the ductions of plaintiff under his nom de plume of<br /> Shakespeare Theatre, and also to attempt a recon- Lieutenant R. H. Jayne,&#039; with the name of<br /> stitution of the literature and theatre of the “Edward S. Ellis&#039; and &#039;Ellis&#039; printed on the<br /> Shakespearean epoch in the various European covers and wrappers of the books. Plaintiff con-<br /> countries. By means of a théâtre comparé it is cedes that by reason of their dedication to the<br /> thought that an interesting literary revival may be public, the defendants had the right to ieprint,<br /> arrived at. A paper containing details will be sent publish and sell these books. It is contended,<br /> to any readers desirous to have further particulars, however, that the dedication is limited to the books<br /> on receipt of a post-card.<br /> as published under the nom de plume ; that in the<br /> ALYS HALLARD. absence of any permission or consent on the part<br /> 60, Rue de Vaugirard, Paris.&#039;<br /> of plaintiff to use or print his real name in con-<br /> nection with the publications in question, defen-<br /> * Silhouettes historiques” (Calmann Lévy).<br /> dants had no right to publish them with the<br /> “La Liseuse&quot; (Calmann Lévy).<br /> “Figures Littéraires&quot; (Perrin).<br /> imprint of his true name on the covers and<br /> “ Visages d&#039;hier et d&#039;aujourd&#039;hui” (Plon).<br /> wrappers, and that this use of his name is in<br /> &quot;La Société française du XVIe siècle au XXe siècle violation of the statute to which reference has been<br /> (Perrin).<br /> made. The statute reads as follows : Sec. 50,<br /> &quot;L&#039;Affaire Debrouillar--Delatamize” (Calmann Lévy).<br /> &quot; Marie Malibran &quot; (Plon).<br /> Right of Privacy.-A person, firm or corporation<br /> that uses for advertising purposes or for the pur-<br /> poses of trade the name, portrait or picture of any<br /> living person, without having obtained the written<br /> PUBLISHERS NEED NOT PRESERVE<br /> consent of such a person, or if a minor, of his or<br /> PSEUDONYMITY (U.S.A.).<br /> her parent or guardian, is guilty of a misdemeanor.&#039;<br /> Section 51 confers a right of action for injunction<br /> (From the U.S.A. Publishers&#039; Weekly.)<br /> and for damages in favor of the person aggrieved<br /> under the provisions of section 50.<br /> N action brought by Edward S. Ellis, the “Where a statute is doubtful or ambiguous<br /> A author, against Hurst &amp; Company, involv- resort may be had to the title of the act (In the<br /> ing a number of interesting questions matter of Village of Middletown, 82 N. Y., 195,<br /> regarding publishers&#039; and authors&#039; rights in pseu- 199). In construing the broad language of the<br /> <br /> <br /> ## p. 197 (#267) ############################################<br /> <br /> THE AUTHOR.<br /> 197<br /> court declaring the use for advertising purposes<br /> or for the purposes of trade&#039; of the name, por-<br /> trait, or picture of any living person&#039; without his<br /> written consent to be a misdemeanor, the court<br /> will consider the mischief which the statute was<br /> aimed at, and in order to give it effect words<br /> absolute in themselves and language the most<br /> broad and comprehensive may be qualified and<br /> restricted by other parts of the same statute, or by<br /> the facts and circumstances to which they relate<br /> (Blaschko v. Wurster, 156 N. Y., 437, 443).<br /> “In the light of this rule of construction it may<br /> be seriously doubted whether the statute was<br /> intended to cover every case of the unauthorised<br /> use of another&#039;s name, picture or portrait in con-<br /> nection with trade purposes, or whether it was<br /> intended to be limited to a class of cases where,<br /> before the enactment of the statute, no provision<br /> of law existed for redressing certain wrongs. The<br /> title of the act is “Right of Privacy,&#039; and it is<br /> now a matter of general knowledge that the act<br /> was passed in consequence of the suggestions con-<br /> tained in the opinion in the case of Roberson v.<br /> Rochester Folding Box Co. (171 N. Y., 538), a view<br /> expressly recognised in the opinion of Rhodes v.<br /> Sperry &amp; Hutchinson Co. (193 N. Y., 223, 227),<br /> the opening paragraph of which reads : &#039;In the<br /> case of Roberson v. Rochester Folding Box Co. (171<br /> N. Y., 538) this court determined that in the<br /> absence of any statute on the subject, the right of<br /> privacy as a legal doctrine enforcible in equity,<br /> did not exist in this State so as to enable a woman<br /> to prevent the use of her portrait by others for<br /> advertising purposes without her consent.&#039; If we<br /> turn to the opinion in the Roberson Case (supra)<br /> we find that it discusses learnedly and at length<br /> the doctrine of the Right of Privacy,&#039; and the<br /> incorporation of the phrase in the title of the act<br /> under review should therefore be given due signifi-<br /> cance.<br /> was evidently designed to forbid the<br /> unauthorised and wanton appropriation or use of<br /> a person&#039;s name, picture or portrait for trade or<br /> advertising purposes where such use is wholly un-<br /> related to the matters or things with which said<br /> name, picture or portrait is associated, and it may<br /> perhaps also have been intended to forbid the<br /> unauthorised use of one&#039;s name, portrait or picture<br /> when such use is asserted to be related to or con-<br /> nected with the things advertised or sold, but<br /> where such a relationship or connection is in fact<br /> unreal, unsubstantial, pretended or false. If the<br /> act were to be construed as broadly as here claimed,<br /> then one who advertises the sale of a well-known<br /> brand of flour by using without his written consent<br /> the name of the manufacturer of the flour would<br /> be guilty of a misdemeanor. Or if a clothier<br /> • advertises the sale of certain garments and uses in<br /> the advertisements the name of the person who<br /> manufactured the cloth from which the garments<br /> were made without the latter&#039;s consent, then would<br /> he be guilty of a misdemeanor. Instances might<br /> be multiplied showing the absurdity of construing<br /> the act in its broadest terms.<br /> “In the case at bar, the defendants concededly<br /> had the right to publish the books in suit with the<br /> nom de plume of plaintiff, and this right carried<br /> with it the right to state the true name of the<br /> author in such form in the book, either upon the<br /> title-page or otherwise, as to show who was the<br /> writer or author thereof&#039; (the Mark Twain Case,<br /> 14 Fed. Rep., 728, 730). The nom de plume of an<br /> author is but the synonym of his true name and,<br /> as was said in the Mark Twain Case (supra) at<br /> page 731, &#039;the invention of a nom de plume gives<br /> the writer no increase of right over another who<br /> uses his own name in the absence of a copyright.&#039;<br /> In publishing the plaintiff&#039;s name on the volumes<br /> under consideration the defendants published a<br /> truthful statement, directly connected with the<br /> authorship of the books, which they had a right to<br /> print. This is therefore unlike the case of Eliot v.<br /> Jones (66 Misc., 95, aff&#039;d without opinion by the<br /> Appellate Division, N. Y. Law Journal, October 29,<br /> 1910), where President Eliot&#039;s name was used with<br /> respect to a publication not made by him or with<br /> his authority, and whicb was therefore a use based<br /> upon a false statement of fact and upon a decep-<br /> tion. The case of Collier v. Jones (66 Misc., 97).<br /> relied upon by the plaintiff, was not brought under<br /> the statute here invoked, but under the doctrine of<br /> unfair competition, and in the case of Victor Herbert<br /> v. Universal Talking Machine Co. (N. Y. Law<br /> Journal, March 9, 1904) it appears from an<br /> examination of the record that the defendant sold<br /> gramophone records, using in connection there-<br /> with the name of the plaintiff, who had nothing<br /> whatever to do with them. I am of opinion that<br /> the defendants&#039; acts here complained of do not<br /> come within the prohibition of the statute here<br /> invoked and that the judgment should go for the<br /> defendants.&quot;<br /> SCALE FOR ADVERTISEMENTS.<br /> (ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br /> Front Page<br /> Other Pages<br /> ...£4 0 0<br /> ...<br /> Half of a Page ...<br /> Quarter of &amp; Page<br /> ... 1 100<br /> ...<br /> Eighth of a Page<br /> O 15 0<br /> ..076<br /> Single Column Advertisemontis .<br /> per inch ở ó o<br /> Roduction of 20 per cent. made for a Series e Six and of 25 per cont, for<br /> Twelve Insertions.<br /> Oo<br /> All letters respecting Advertisernents should be addressed to J. F.<br /> BELMONT &amp; Co., 29, Paternoster Square, London, E.C.<br /> <br /> <br /> ## p. 198 (#268) ############################################<br /> <br /> 198<br /> THE AUTHOR.<br /> HOW TO USE THE SOCIETY.<br /> eive<br /> 1. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub.<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> 2. Remember that questions connected with copyright<br /> and publishers&#039; agreements do not fall within the experi.<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> a Therefore, do not scruple to use<br /> the Society,<br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination,<br /> 4. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> 5. The Committee bave arranged for the reception of<br /> members&#039; agreements and their preservation in a fire.<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers :<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> Lars of the Society&#039;s work can be obtained in the<br /> Prospectus.<br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> 7. Many agents neglect to stamp agreements. This<br /> must be done within fourteen days of first execution. The<br /> Secretary will undertake it on behalf of members.<br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; 80<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> 9. The subscription to the Society is £1 18. per<br /> annum, or £10 108. for life membership.<br /> obtained But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement).<br /> In this case the following rules should be attended to:<br /> (1.) Not to sign any agreement in which the cost of pro.<br /> duction forms a part without the strictest investigation,<br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> (3.) Not to allow a special charge for “office expenses,&quot;<br /> unless the same allowance is made to the author.<br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> (5.) Not to give up serial or translation rights.<br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor!<br /> III. The Royalty System.<br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author,<br /> IY. A Commission Agreement.<br /> The main points are :-<br /> (1.) Be careful to obtain a fair cost of production,<br /> (2.) Keep control of the advertisements.<br /> (3.) Keep control of the sale price of the book.<br /> General.<br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> Such combinations are generally disastrous to the author,<br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> Stamp all agreements with the Inland Revenue stamp.<br /> Avoid agreements by letter if possible.<br /> The main points which the Society has always demanded<br /> from the outset are:-<br /> (1.) That both sides shall know what an agreement<br /> means.<br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> (3.) Always avoid a transfer of copyright.<br /> -<br /> -<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> N EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com.<br /> petent legal authority.<br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :-<br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> TTERE are a few standing rules to be observed in an<br /> u agreement. There are four methods of dealing<br /> with literary property :-<br /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> <br /> ## p. 199 (#269) ############################################<br /> <br /> THE AUTHOR.<br /> 199<br /> DRAMATIC AUTHORS AND AGENTS.<br /> (6.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.e., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (6.) apply<br /> also in this case.<br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> 7. Authors should remember that performing rigbts in a<br /> play are distinct from literary copyright. A manager<br /> bolding the performing right or licence to perform cannot<br /> print the book of the words.<br /> 8. Never forget that United States rights may be exceed<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration,<br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> 11. An author inust remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con.<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> D RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society<br /> WARNINGS TO MUSICAL COMPOSERS.<br /> T ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan.<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with-performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration.<br /> the warnings stated above.<br /> STAMPING MUSIC.<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members&#039; stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble.<br /> THE READING BRANCH.<br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> UTEMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. Tbe<br /> fee is one guinea.<br /> REMITTANCES.<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> D forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 26. 6d. per act.<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittonces should be crossed Union of London and<br /> Smiths Bunr, chanoery, Lane or be sent by registered<br /> letter only.<br /> <br /> <br /> ## p. 200 (#270) ############################################<br /> <br /> 200<br /> THE AUTHOR.<br /> GENERAL NOTES.<br /> transfer of the copyright from the unfortunate com<br /> poser-making a claim for infringement of his, the<br /> publisher&#039;s, copyright in a certain air, or setting<br /> AUTHORS AND INCOME TAX.<br /> of an air. The first publisher in these circum-<br /> In the April issue of the Publishers&#039; Circular stances would, if he should find that his composer&#039;s<br /> we find a report of the Council of the Publishers&#039; work is not selling and not catching on, at once<br /> Association. One item of this report must be of acknowledge the infringement and withdraw the<br /> interest to all authors. It runs as follows :<br /> composition from the market rather than face the<br /> expense and inconvenience of a complicated copy-<br /> THE REQUESTS OF INCOME TAX COLLECTORS FOR<br /> INFORMATION CONCERNING AUTHORS&#039; ACCOUNTS.<br /> right action. The unfortunate composer who may<br /> “A member of the association received<br /> be entirely innocent of any infringement can take<br /> from an<br /> income tax collector a request to be furnished with par.<br /> no steps whatever to have his property re-estab-<br /> ticulars of payments to authors for the purpose of the lished, for the publisher, as owner of the copyright,<br /> assessment of their income. The council are advised that is not obliged to keep the work on the market if<br /> he had no right to make the request.&quot;<br /> he does not desire to do so. The position in this<br /> We are glad to see that the Council of the case is as ridiculous as in the case of the unfor-<br /> Publishers&#039; Association have been firm on a matter tunate author who has to claim damages against a<br /> which is of most vital importance.<br /> bankrupt firm.<br /> We see from the same issue that Sir Frederick<br /> MacMillan has been appointed President of the<br /> Publisbers&#039; Association for the current year ; Mr.<br /> THE “ENGLISH REVIEW.&quot;<br /> William Heinemann, Vice-President; and Mr. James In the March, 1910, issue of The Author a state-<br /> H. Blackwood has been appointed Treasurer.<br /> ment appeared to the following effect :-<br /> “We understand that Mr. Austin Harrison has been<br /> THE TRANSFER OF COPYRIGHT.<br /> appointed editor of the English Reriew which, in future,<br /> will be published from Messrs. Chapman and Hall&#039;s<br /> A new evil inherent in the transfer of copyright offices, 11, Henrietta Street, Covent Garden, W.C. We are<br /> has come to our notice.<br /> further informed that the unsatisfied claims of contributors<br /> Time without number in these columns the evils<br /> to the Review under the old management will be settled by<br /> the new management.<br /> connected with the assignment of copyright have<br /> &quot;We are very pleased to be able to make this announce-<br /> been put forward, and especial emphasis has been ment officially, as it is not often that a new proprietor,<br /> laid on the case of an author engaged in technical taking over the assets of an old company, also takes over<br /> writing—a specialist in his own particular subject.<br /> its liabilities and undertakes to satisfy them.&quot;<br /> By such transfer he may be excluded from writing We are now able to report that the undisputed<br /> again on his subject unless he enters into an agree claims of members of the society placed in the<br /> ment wholly unfair and unsatisfactory with the hands of the secretary have been met under this<br /> holder of his own copyright; in fact, he may have promise, and we must thank Sir Alfred Mond for<br /> placed his whole reputation at stake owing to his settling the matter.<br /> ignorance or folly.<br /> We have also pointed out the danger of such<br /> SIR ALFRED LYALL.<br /> transfer when an author is remunerated by a royalty<br /> on the sales. Should the company or publisher go<br /> We regret to record the death of the Right Hon.<br /> into liquidation or become bankrupt, the author Sir Alfred Comyn Lyall, G.C.I.E., K.C.B., D.C.L.,<br /> who has transferred his copyright can only obtain who joined the Society of Authors in 1905 and<br /> damages against the bankrupt estate. The position was elected to its council in 1908.<br /> is absurd. There are also other difficulties which We need not deal with his great talents and<br /> must not be lost sight of. But what has recently abilities as a worker in the Empire of India, as it<br /> come forward is the following case, and as it is not this side of his life which is of interest to<br /> occurred with regard to musical copyright it is readers of The Author, however distinguished it may<br /> perhaps more likely to re-occur with regard to this have been, but it is rather as a man of letters that he<br /> same property. A musical composer transferred will appeal to authors, and his work in the field of<br /> his copyright and performing right—unfortu. literature was no less distinguished than his public<br /> nately, most musical composers still refuse to band career. Perhaps the book by which he is best<br /> together against this demand of the publishers. known, and the book which is most likely to<br /> The composer was to receive a royalty on every endure, is his “ Life of Lord Dufferin,&quot; published in<br /> copy sold. The publishers were threatened by 1905, in two volumes. It is a great work, ably<br /> another publisher-it may be taken for granted written. He wrote, in addition, many other books<br /> that the other publisher had likewise obtained referring to India, and among these we would<br /> <br /> <br /> ## p. 201 (#271) ############################################<br /> <br /> THE AUTHOR.<br /> 201<br /> mention his “ Life of Warren Hastings ” in the until at last one sensible man propounded the<br /> English Men of Action Series, published in 1889. i theory that a novel, like a pair of trousers, should<br /> He was also a poet of no mean distinction, his be cut to the measure of the material it was meant<br /> &quot; Verses Written in India ” having been re- to contain. The correspondence closed shortly<br /> published quite recently, in a cheap edition. This afterwards.<br /> fact will tend to show how widely read his work Generally speaking, the public prefers a good<br /> has been.<br /> long novel to a good short one, as is only natural..<br /> Sir Alfred took considerable interest in the The more the buyer gets for his money, assuming<br /> affairs of the society from his election, and was the quality to be equal, the better he is pleased.<br /> prominent in the debates that occurred relative to But it is also true that the modern reader does not<br /> what is known as The Times Book War.<br /> want his attention taken off the main theme by any<br /> irrelevant matter. I do not think the ordinary<br /> COPYRIGHT Bill, 1911.<br /> consumer of novels to-day spends much time in read-<br /> ing the old masters. Most houses in London that<br /> THE Copyright Bill of 1911 is now before the<br /> have any library at all no doubt possess editions of<br /> public, and though it is not, from the author&#039;s<br /> Scott, Thackeray, and Dickens; but they are rarely<br /> point of view, a perfect bill, it is in a more advanced<br /> taken down from the shelves. If “ Quentin Dur-<br /> condition than the bill of 1910. The Society of<br /> ward,” or “ Vanity Fair,” or “ Martin Chuzzlewit&quot;<br /> Authors may congratulate itself on the fact that<br /> were offered to the London trade to-day as new<br /> the Board of Trade not only gave every oppor-<br /> books by unknown authors I am confident they<br /> tunity to the society, through its committee,<br /> would be refused, not because of their mere length,<br /> to put its views before the Board, but accepted<br /> but because their authors had not learned the art of<br /> nearly all the important suggestions which it laid<br /> excluding matter not germane to the story. Scott&#039;s<br /> before them, and authors, whether members of the<br /> prefatory and introductory remarks alone would<br /> society or not, must be deeply indebted to the<br /> often fill as many pages as a modern novelist re-<br /> society for the work it has undertaken on their<br /> quires for his whole book. Thackeray, they would<br /> behalf.<br /> say, was always introducing long apostrophic reflec-<br /> tions on things in general. Dickens invented so.<br /> THE MODERN NOVEL AND ITS PUBLIC. many subsidiary characters and side-issues that he<br /> was forced, as it were, to strike a balance-sheet at<br /> the end of the book, telling his anxious readers in a<br /> (Reprinted from The Dial, Chicago.)<br /> few words what had become of all the secondary<br /> VHEN there is nothing of great importance personages who had fitted across his pages. I dare<br /> V happening, from the journalistic point of not imagine what the modern publisher would say<br /> view, our enterprising press has the of his other habit of interpolating whole stories, such<br /> pleasant habit now and again of starting a dis- as “The Stroller&#039;s Tale&#039; in the third chapter of<br /> cussion and inviting correspondence on the subject “The Pickwick Papers.&quot;<br /> from interested readers. With a little judicious The fact is that, so far as construction goes, the<br /> fostering, and a certain number of letters written technique of the novel has been improved out of all<br /> in the office to indicate the best methods of treating recognition during the last thirty years. A great<br /> the topic, these arguments sometimes reach truly number of very poor novels are published year by<br /> formidable proportions, especially if they deal with year ; but, bad as they are, they do not generally err<br /> a religious or moral subject. With literature, the in the direction of technique. The plot may be thin<br /> general public is justly supposed to be less con the characters wooden, the writing undistinguished<br /> cerned ; and it is rare to find a paper “opening or even ungrammatical ; but the author has gener-<br /> its columns&quot; (as the phrase runs) to any discussion ally the merit of keeping the story well in view from<br /> about the making of books. But a few months start to finish. He has discovered that the one thing<br /> ago the unexpected happened: the Westminster he must not do is to allow the reader&#039;s attention to<br /> Gazette did actually invite the opinions of its wander. It is far more likely to wander than it<br /> readers on the momentous question of the Length was in the old days; and this is not entirely due to<br /> of Modern Novels; and, curiously enough, this inferiority in the artist of the twentieth century,<br /> departure from the old tradition met with consider it is due rather to the rise of a new and half-educated<br /> able success. For some weeks the novelists of public, who have been fed on papers like Answers<br /> England entrusted their opinions on this fascinating and Tit-Bits—the babies&#039; food of the young<br /> topic to the correspondence columns of our premier reader. It remains to be seen whether this public<br /> evening paper, commonly at a length inversely will ever be educated up to anything better ; but<br /> proportioned to the importance of the writer. The at present they are incapable of absorbing any para-<br /> diversity of opinion registered was remarkable ; graph of more than five or six lines in length. They<br /> <br /> <br /> ## p. 202 (#272) ############################################<br /> <br /> 202<br /> THE AUTHOR.<br /> II.<br /> require a series of shocks to keep them awake, and fear that the great secret eludes analysis. Like many<br /> consequently the modern novelist has learned the so-called games of chance, the art of successful<br /> imprudence of indulging in prolixity. The page of novel-writing is a matter of fortune, with a re-<br /> a new novel must not even present a physical appear- servation in favour of the better player. The good<br /> ance of solidity : if a publisher sees the proofs come man will commonly achieve a modest independence<br /> from the printer with more than ten inches of un in time, if he goes on trying. For the rest, it is<br /> broken matter he is quite capable (as has bappened well for him not to be too much concerned with the<br /> more than once in my own case) of breaking up the commercial side of his work.<br /> paragraphs himself. Only a few of the old guard,<br /> E. H. LACON WATSON.<br /> such as Mr. Henry James, are permitted some lati-<br /> tude in this respect-probably because they were<br /> found to be incorrigible.<br /> STYLE IN LITERATURE.<br /> It is easy to theorise about the production of<br /> books, but it is still extraordinarily difficult to predict<br /> By ARCHIBALD DUNN.<br /> with any approach to accuracy how the public will<br /> receive any given specimen. Yet one can generally<br /> tell what sort of reception it will meet with from the [The commencement of this article, in last month&#039;s<br /> reviewers. Some years ago this would have been<br /> issue, discussed the broad requirements of style.]<br /> sufficient; there was a time when a few enthusiastic T CONOMY—the omission of the superfluous<br /> acclamations in the more important papers sent a<br /> word and the inclusion only of the neces-<br /> new book gaily forward on the road to success. In<br /> sary-hardly calls for justification ; seem-<br /> these days the criticisms of the press seem to have ingly, after what has been said, it carries its<br /> lost their effect. upon readers ; the reviewers may endorsement upon its face and there is no need for<br /> praise until they have exhausted every adjective in the introduction of more pbilosophy. Still, a good<br /> their vocabulary, yet the buyers will refuse to come cause, you know, is none the worse for being proved<br /> in. Sometimes I am almost inclined to think that up to the hilt, and a reasonable method is after all<br /> a chorus of commendation damps the ardour of better remembered when its reasoning is fully<br /> the public ; they suspect all sorts of things—an understood. Turning, then, to philosophy, we find<br /> organised attempt to boom the work of a personal the point argued most convincingly, perhaps, by<br /> friend, or perhaps even bribery. They have lost Herbert Spencer.* “ Language,&quot; he says, “ must<br /> their child-like faith in the infallibility of the critic be regarded as a hindrance to thought. ...<br /> that our forefathers possessed. It is a curious and Placing a finger on the lips is more forcible than<br /> instructive fact that the most popular writers of the whispering, ‘Do not speak. A beck of the hand is<br /> present day in the world of fiction are novelists for better than • Come here.&#039; A shrug of the shoulders<br /> whom the reviewers never have a good word to say. would lose much by translation into words ...&quot;<br /> The people are not only uneducated, then, but and so on. In short, there is danger in the use of<br /> obstinate ; they hear the voice of their master, but language at all ; action will convey the idea more<br /> deliberately stuff their ears with cotton-wool ; they readily ; and, consequently, we had better do<br /> do not wish to learn. And the critics can only without language altogether.<br /> sigh and point out for their own satisfaction. It is clear, however, that the possibilities of<br /> that in all branches of art the public has ever pantomime are limited. We can suggest “ Come<br /> admired, with a curious consistency, the worst that here” most dramatically by a gesture, but all the<br /> is put before it.<br /> gestures in the world will pot convey the sense of a<br /> What does sell a novel ? The irresponsible theological argument. It is in fact the elementary<br /> chatter of women at afternoon tea, say some of my thought, and nothing beyond the elementary,<br /> friends. I think it a fact that women have a great which thus lends itself to illustration by action ;<br /> deal to say in the matter. They read far more but in that event, we see, the significance of the<br /> novels than the men ; they take their reading more action reaches the intelligence more immediately<br /> seriously; and are more likely to discuss their and more forcibly than could the significance of<br /> favourites afterwards. Thus some of the literary the spoken or written word. So, though Herbert<br /> agents now lay it down as a cardinal rule that, in Spencer has come near the reductio ad absurdum,<br /> a successful story, the feminine interest should be he has taught a valuable lesson. Language is a<br /> dominant. Women, they argue, like to read about hindrance to thought, but-it is indispensable ;<br /> themselves, and especially to learn how they should very well, then, it shall be used—because it must<br /> behave in moments of emotional stress. There is be used—but in such fashion as to make it as<br /> thus a formula for the construction of the “big little of a hindrance as may be. Words, therefore,<br /> seller,&quot; if anyone could ever work to a formula, and &quot;The Philosophy of Style,” to which the reader is<br /> if the literary agents are correct. Personally, I referred for more extended proof of the proposition.<br /> <br /> <br /> ## p. 203 (#273) ############################################<br /> <br /> THE AUTHOR.<br /> 203<br /> shall be few, direct of meaning and expressive, come now to the treatment of the sentence and of<br /> familiar and, consequently, easy of comprehension, the paragraph, and here, again, we shall find that<br /> there is the treatment of them in the compass of a the whole aim and object is to make things easy<br /> putshell, the commonsense solution of the difficulty. for the reader.<br /> But, is this to say that the erudite is to be The position, then, is simply this. The elemen-<br /> taboo and that the nearer a writer approaches to tary thought is expressed in a single word—write<br /> the one-syllabled language of a child the greater “Halt!&quot; and every reader recognises the command<br /> he shall be ? Is that the inference to be drawn to stop. But as the thought advances in com-<br /> from this law of simplicity and economy, the real plexity, the simple word will no longer suffice but,<br /> meaning of it all ? Well, surely not. For it is instead, a resort must be had to the use of many<br /> most obvious, I think, that much will depend upon words, and these words build up a sentence-with<br /> the circumstances. One would not, for instance, or without subsidiary clauses, as may be. Advance<br /> address a set of ploughmen as a gathering of the thought once more, and the single sentence<br /> students, or write a scientific text-book in the becomes inadequate ; the need has arisen now for<br /> phraseology of the nursery. There is the wide a group of sentences each helping to explain the<br /> distinction of the conditions, and the simple fact meaning and, when completed, forming an intelli-<br /> that what is incomprehensible to the one is often gible paragraph. It is, in fact, a steady increase<br /> the common language of the other. The whole in the quantity of units to be handled by the<br /> question, in short, is relative, regulated by the author; and, just as the management of a company<br /> subject, regulated again by the capacity of the of men is easier than the manoeuvring of an army,<br /> reader—both must be suited.<br /> 80 will the problem grow for an author in propor-<br /> I know, of course, that amongst the illiterate it tion to the length and number of sentences<br /> is a mighty fine thing to use long words ; here, necessary to the expression of his thought. For<br /> forsooth, is the depth of profundity with so ignorant these sentences, unluckily, do not take position of<br /> a crowd. Yet, given a few shillings to spend, you themselves; but, with a most irritating perverse-<br /> may bay as much of this profundity as you please ness, tend to straggle and fall into a certain<br /> at any stationer&#039;s shop, and then, equipped with a confusion. It is not, perhaps, an actual disorder,<br /> Thesaurus of English words and phrases, safely but rather an absence of order and a species of<br /> unfurl the standard of pomposity and affectation. aimlessness, and this is what calls so imperatively<br /> There is a long word for everything, believe me, for the drill-sergeant--the author and demands<br /> to repay the mere trouble, the clerk&#039;s work, of of him that he shall set each one of these trouble-<br /> searching through the pages, and nothing in this some units into its fit and proper place. And,<br /> world but laziness to prevent you beating record failing this ? Why, then, depend upon it, we<br /> for a vocabulary. Yet, when all is said and done, have drifted back again in a twinkling to that Old<br /> what a travesty it comes to ! when, setting out to Man of the Sea in literature, to that bogey of a<br /> do one thing, another is gravely accomplished ! rule which will have the way paved smooth for the<br /> when, with the object of enlightening the reader, reader. Here is a blessed muddle ; and that was<br /> the end is to fuddle him! It is against this never a part of the bargain.<br /> danger that the law of economy and simplicity Thus it is clear that some definite order must be<br /> stands as the surest safeguard.<br /> decided upon ; some order whicb, by virtue of its<br /> Pity, then, that its fulfilment should be so natural sequence, shall seem the natural order to<br /> difficult! &quot;To gather much thought into few the reader and so reduce his effort to a minimum<br /> words,&quot; says Schopenhauer, “stamps the man of in visualising the picture.<br /> genius&quot;; and, amongst those who find their Now, in considering this, one essential is always<br /> livelihood or their pleasure in writing, there is not to be remembered—that a proposition must neces-<br /> one to contradict him. For somehow, by some sarily be discussed in one of two ways, either<br /> unlucky chance, the natural process of expression inductively or deductively; that is, we may first<br /> is seldom precise and to the point but something group together our facts and particolars and so<br /> of a wobble, to speak the truth, and ever ready to lead up to and prove the main proposition, or,<br /> go upon the wander ; and so it happens, as a rule, alternatively, we may begin by stating the propo-<br /> that it is only after years of training and an sition itself and then proceed to prove it. One or<br /> infinity of labour that a man learns in the end to say other of these methods must be adopted always in<br /> just exactly what he wants to say and nothing more. intelligent debate if the subject is to be brought<br /> definitely and sharply before the mind of an outside<br /> Climax (which necessarily implies sequence as a person. As to which is the better method autho-<br /> preliminary) brings us to a broader consideration rities are disagreed. Lewes* suggests that it<br /> of the subject of style. We have spoken of the<br /> treatment of the word-in a general sense ; we<br /> * “ Principles of Success in Literature.&quot;<br /> <br /> <br /> ## p. 204 (#274) ############################################<br /> <br /> 204<br /> THE AUTHOR.<br /> depends upon the circumstances, and that certainly appeal direct to the reason. Unluckily, this is but<br /> seems the commonsense way of looking at it. “If half the task. For its completion there is still<br /> my object,” he says, “is to convince you of a another phase of the mind&#039;s activity to consider ; a<br /> general truth or to impress you with a feeling which phase which is of the emotional rather than the<br /> you are not already prepared to accept, it is obvious reasoning type.<br /> that the most effective method is the inductive, This is best illustrated by an example. Walk<br /> which leads your mind upon a culminating wave of suddenly from the sunshine into a shady corridor,<br /> evidence or emotion to the very point I aim at. and though perhaps there is light enough to read<br /> But the deductive method is best when I wish to by, the corridor will seem absolutely dark; or,<br /> direct the light of familiar truths and rouse again, remember how, in the unexpected presence<br /> emotions upon new particulars or upon details in of some horrible or startling sight, the mind is<br /> unsuspected relation to those truths.” In short, blinded sometimes wholly, always partially, to other<br /> then, to lighten the task of the reader, a proposition considerations. Common experiences such as these,<br /> likely to be accepted without question should be the effect of which cannot be denied, carry their<br /> stated at once and afterwards emphasised, whilst a own inference, and accepting it, as we must do, we<br /> proposition unlikely to be so accepted should first have this inevitable conclusion—that the mental<br /> be proved and then, as a consequence of such proof, faculties, like all our senses, are subject to a deaden-<br /> finally stated.<br /> ing reaction after any very vivid impression, and<br /> But whichever method is adopted-and the writer that the extent of the reaction is commensurate in<br /> will select according to the conditions of the some degree with the strength of the impression.<br /> moment—it is certain that the process in either It is a case, in fact, of the greater overshadowing<br /> case must be progressive. Here again it is a ques- the less; and when this occurs in literature need<br /> tion of the reader&#039;s comfort ; he shall not be left we wonder if a period of blankness ensues which,<br /> to disentangle the tangled threads. As Herbert if it does not actually destroy the power of appre-<br /> Spencer puts it, “the events should be stated in ciation, at least weakens it ? On the other hand,<br /> ench sequence that the mind may not have to go the trifle can claim attention when there is nothing<br /> backwards and forwards in order to rightly of more import to distract, and if the series be<br /> connect them.”<br /> allowed to move with a steadily increasing force<br /> That, however, is not the end of it; for you may each detail can be noted by the way. Moreover,<br /> have a sequence without a tangle and yet a sequence this is to heighten the final result ; for if you step<br /> which from its very nature is incomprehensible. I from the shady corridor into the sunlight the sun<br /> mean, of course, where a complex or unfamiliar will never look brighter; and, if you will explain to<br /> subject has been introduced too suddenly. And me beforehand the utmost possibilities of some<br /> this is the fault so common to bad writing, that the terrible danger, there is no surer means of in-<br /> author assumes the reader&#039;s knowledge to be equal creasing my fear, though, mark you! I shall have<br /> to his own. Then, in a moment, the mind as my wits about me when the time comes. Based,<br /> often as not, goes all abroad ; it has nothing to then, on the law of nature is the law of climax,<br /> catch hold of as a stand-by, nothing that it has that the progression of sentences shall not only<br /> ever come across before, no starting point to work follow in easy stages and in logical order, but that,<br /> from, nothing anywhere but an indescribable haze. in addition, they shall be cumulatire in effect.<br /> It is a blank, if ever there was one, hopeless and To point the moral, take an extract from<br /> complete. And yet it could be cleared up so easily Macaulay. This is what he says about Barère :-<br /> by starting just a little lower down the ladder of “Our opinion, then, is this : that Barère approached<br /> knowledge. Here is a complex matter, but its origin nearer than any person mentioned in history or in<br /> was simple. Then start with its origin if neces- fiction, whether man or devil, to the idea of con-<br /> sary, with simple and familiar facts, at any rate, summate and universal depravity. In him the<br /> and so, carrying the attention with you, lead on in qualities which are the proper objects of hatred<br /> a progressive and explanatory fashion to those facts and the qualities which are the proper objects of<br /> which are not so simple and not so familiar. It is contempt preserve an exquisite and absolute<br /> a question of easy stages, that is all, and when the harmony. In almost every particular sort of<br /> really complex is reached at last, believe me, there wickedness he has had rivals. His sensuality was<br /> will be nothing complex about it.<br /> immoderate; but this was a failing common to<br /> So far, then, as logical order is concerned, so far him with many great and amiable men. There<br /> as we have nothing else to do than follow out an have been many men as cowardly as he, some as<br /> explanatory system which can be readily grasped, cruel, a few as mean, a few as impudent. There<br /> the course is clear enough. We have a thought to may also have been as great liars, though we never<br /> convey and we convey it in the most obvious and met with them or read of them. But when we put<br /> most easily appreciable fashion ; we have made our everything together, sensuality, poltroonery, base-<br /> <br /> <br /> ## p. 205 (#275) ############################################<br /> <br /> THE AUTHOR.<br /> 205<br /> ness, effrontery, mendacity, barbarity, the result is paragraph. It is a small thing, with the sense<br /> something which in a novel we should condemn as remaining just the same and the words too, but<br /> caricature and to which, we venture to say, no life and truth have gone out of the picture; for the<br /> parallel can be found in history.&quot;<br /> mind, tuned to the fever pitch, cannot drop back<br /> A writer less gifted than Macaulay in the art of thus suddenly to the inconsiderable. The thing<br /> building up a climax might have hesitated to begin that has really mattered all along, the thing that<br /> with so slashing and violent &amp; sentence, lest those concerned the reader and held him, was the fate of<br /> others to follow should seem weak by comparison. Hiawatha, that was to be the culmination, the<br /> But, analysed, this sentence is no more than a end ; and yet, just as the secret is revealed, just as<br /> general statement preparing the mind ; and, then, the attention would dwell upon it and grasp its<br /> starting with the admission that Barère perhaps full significance and revel in it, why, just then,<br /> had individual rivals in individual forms of wicked- bless your heart! there comes a dig in the ribs and<br /> ness-a neat contrast—the crescendo treatment a silly, idiotic, distracting remark about a sunset<br /> goes steadily forward. And in the end, though we and a mist.<br /> have listened only to assertion without the backing<br /> of the shadow of a proof, that tempest of words<br /> To the Islands of the Blessed,<br /> and thoughts, that terrific whacking of the big<br /> To the Kingdom of Ponemah,<br /> To the land of the Hereafter!<br /> drum, each stroke heavier than the one before,<br /> In the glory of the sunset,<br /> must carry us along as in a whirlwind irresistibly.<br /> In the purple mists of evening.<br /> We may amend our judgment later on--and sball<br /> do, if the evidence be insufficient-but, meanwhile,<br /> Oh, the smallness of the thought! And the<br /> the art of the writer has triumphed, and, for the<br /> certainty, as you see, that romance must be<br /> moment at any rate, we condemn Barère. Illogical,<br /> scotched to find ourselves thus thrust back from<br /> you say? And so it is. At the same time, it is<br /> the fascinating dream—of ethereal things, which we<br /> very real human nature, and there is no getting<br /> believe to be beautiful and on which it is only<br /> away from that.<br /> natural for the imagination to rest-back again with-<br /> Clearly, then, if climax be essential to effective-<br /> out warning to the commonplaces of life, to the<br /> ness, anti-climax-a sequence in which the imposing everyday siidset, if you please, and a damp-I had<br /> thought is succeeded by the trivial-must be for-<br /> &amp;<br /> near<br /> nearly written “damned”-unpleasant mist !*<br /> bidden. The strength of the one is sufficient<br /> As Longfellow has it, however, “the glory of<br /> evidence of the weakness of the other, and so there<br /> the sunset” and “the purple mists of evening” is<br /> is no need to go over the old ground of argument<br /> well-nigh perfect in its artistic setting. It has<br /> again. One inay, however, show in a given<br /> painted the scene, of course, and brought the<br /> instance how differently a passage will read and<br /> picture realistically before the eye; but more, it<br /> impress the mind when, without changing either<br /> has heightened the final effect by introducing a<br /> words or meaning, we get anti-climax instead of<br /> momentary suspension of the main thought. That<br /> this should be a source of strength rather than of<br /> climax; and, for this purpose, the final scene in<br /> “Hiawatha &quot; suggests itself :<br /> weakness is not, at first sight, quite apparent.<br /> Here we have the law of economy and simplicity<br /> Thus departed Hiawatha,<br /> Hiawatha the Beloved,<br /> jogging at the elbow and demanding the direct and<br /> In the glory of the sunset,<br /> concise statement and putting us straightway in a<br /> In the purple mists of evening,<br /> troublesome quandary. But I would remind you<br /> To the regions of the home-wind,<br /> once again of the days of the nursery and of what<br /> Of the North-west wind Keewaydin.<br /> To the Islands of the Blessed,<br /> happened when that story you were listening to so<br /> To the Kingdom of Ponemah,<br /> attentively was unexpectedly interrupted. It was<br /> To the land of the Hereafter !<br /> just near the end, or at any rate at the crucial<br /> Is it possible to improve this picture ? to make moment-seeing that they were all crucial moments<br /> it more realistic ? more impressive? It is the<br /> —when nurse was called away and you were left<br /> closing of a beautiful life in glory—the glory of kicking your bare legs about<br /> the glory of kicking your bare legs about the floor. Do you re-<br /> the sunset: in sadness-the sadness of the mists of member, then, how you watched the door! how you<br /> evening : but in everlasting happiness, too. that crawled up to it and listened for a footstep? Do you<br /> Hiawatha should be journeying back to an Eternal<br /> remember how your excitement grew by degrees ?<br /> reward in the Islands of the Blessed, in the land<br /> You had been interested before, you know, but<br /> of the Hereafter! I do not know how this is to be * It is worth noting that the imposing thought succeeded<br /> get more emotionally or more truly. But I do by the trivial has a tendency towards the ridiculous. Hence<br /> know how it may be ruined by the mere stroke of there is some capital to be made out of it in humorous<br /> writing.<br /> a pen, by simply transposing the third and fourth<br /> That all-softening overpowering knell,<br /> lines and re-casting them for the conclusion of the<br /> The tocsin of the soul-the dinner-bell,<br /> <br /> <br /> ## p. 206 (#276) ############################################<br /> <br /> 206<br /> THE AUTHOR.<br /> now your little brain was working into a fever.<br /> The end ! how the mystery and the wonder of it<br /> deepened with suspense! Ah! you remember?<br /> Very well, then, we have whittled down the pencil<br /> and come to the lead, for this idea of suspending<br /> the main thought in literature is only that same<br /> pleasant old idea resurrected from the nursery-<br /> though played of course more artistically nowa-<br /> days for the benefit of those bigger children, the<br /> grown-ups.<br /> But there is danger in it, nevertheless. For,<br /> just as the slight suspension can prove a source of<br /> strength, the really lengthy suspension is seldom<br /> anything but an impediment and a source of weak-<br /> ness. Supposing that Longfellow, instead of using<br /> only two lines to describe the scene, bad used<br /> twenty, what would happen ? Why, clearly the<br /> mind would wander from the main issue—the fate<br /> of Hiawatha—and become centred instead on the<br /> scene itself. So much so, indeed, that the final<br /> lines might seem out of place—in fact, for the<br /> moment, almost without meaning ; we might have<br /> to stop and worry it out for ourselves; we might even<br /> have to refer back to the first line of all to find a<br /> true connection in the passage. This is the danger,<br /> then, the risk of creating a deliberate distraction<br /> And now there is only this to add, that what<br /> applies to the paragraph applies also to the sentence.<br /> The sentence often enough contains a subordinate<br /> thought or series of thoughts within the main<br /> thought—it is, in fact, a miniature paragraph.<br /> Clearly, then, there must be a well-observed<br /> sequence in the order of the sentence as in the<br /> order of the paragragh, a well-defined progression<br /> to the climax, and never, under any circumstances,<br /> too long a suspension of the main issue. Subject<br /> to all this, then, for the sake of economy, the<br /> shorter the sentence the better.<br /> the one case, the case of a flower, the faculty of<br /> smell has been killed, so it seems; in the other, the<br /> case of the student, the mind has become so dulled<br /> that what is accomplished at all is accomplished<br /> with effort, less speedily than usual, less satisfactorily.<br /> What is the inference? Why, surely, that monotony<br /> has the knack of enfeebling the faculties and tends<br /> to make them inoperative.<br /> But, now, if we move from the flower to the<br /> neighbourhood of an open drain, there is no doubt<br /> that we shall smell the drain ; or, if the student be<br /> translated from his study to the chess-board, pro-<br /> vided of course that he cares for chess, there is no<br /> doubt about it that the brain will start again<br /> working as freshly and as vigorously as ever. Thus,<br /> there is a second inference to draw-that, whilst<br /> the faculties most certainly collapse in the presence<br /> of monotony, their real power remains unimpaired<br /> and they can be set going anew by merely resorting<br /> to a different stimulus.<br /> Such, then, is the explanation and justification<br /> of the law of Variety ; and there is little to be said<br /> concerning its practical use in literature that is not<br /> self-evident. It is a matter, you see, of avoiding a<br /> groove. Nothing, however good in itself, may be<br /> served up too often or in too regular an order. To<br /> give only the necessary word, the shortest possible<br /> intelligible sentence, the cumulative progression of<br /> events, is excellent. On the other hand to give<br /> them, paragraph after paragraph, page after page,<br /> with never a break in the routine of the catalogue,<br /> is to achieve a perfection of monotony against<br /> which no reader could hope to hold up his head for<br /> half-an-hour. Think of the bare statement and<br /> re-iteration of bare statements in a school-boy&#039;s<br /> essay; think of the author who at every turn is<br /> introducing the inevitable “ego&quot;; think of<br /> Macaulay with the everlasting grand crescendo and<br /> see, in the end, how feeble he is. It was a fine<br /> thing that “crescendo,&quot; of course, the first time<br /> you met it, soul-stirring and apt to rouge one like<br /> a bugle-call ; but, later, it passed into a vexing<br /> irritation, and finally, like the bugle-call too often<br /> repeated, fell still-born on the senses. Such as this<br /> is dead-levelness with a vengeance and, depend<br /> upon it, so complete a flatness of presentation is not<br /> to be endured. So, in the art of writing-some-<br /> where, somehow, and at no infrequent periods-<br /> there must come those moments of relaxation, those<br /> short intervals of change, which shall serve as the<br /> fresh stimulus to keep the faculties alive.<br /> But it is a difficult job, as things go, to adjust<br /> so fine a balance ; for where, to be sure, does<br /> routine and stereotyped order cease to assist and,<br /> instead, begin to tire? We must observe the rules<br /> and we must break them--the trouble is to choose<br /> the fitting moment; and I do not know that the true<br /> pass-word to this tricky Sesame has yet been found.<br /> Variety, the third law of literature, brings us to<br /> a really strange and surprising result. For, it is<br /> now to appear that, if we shall bave been truly<br /> faithful to the laws of Economy and Climax, if we<br /> shall have followed these principles with a sturdy<br /> persistence and without ever once kicking over the<br /> traces, we shall at the same time have gone far<br /> towards becoming the very worst writers in the<br /> world ! Yes, it is astonisbing ; a direct contra-<br /> diction, seemingly, a building up of the edifice for<br /> the mere pleasure of knocking it down again! But,<br /> listen to the explanation.<br /> When a student bends his mind too intently to<br /> one subject, it is common knowledge that, in pro-<br /> cess of time, the intellect loses in rapidity and in the<br /> power of ready appreciation, and the student grows<br /> stale ; it is also common knowledge, as Herbert<br /> Spencer points out, that &quot; if we hold a flower to the<br /> nose for long, we become insensible to its scent.&quot; In<br /> <br /> <br /> ## p. 207 (#277) ############################################<br /> <br /> THE AUTHOR.<br /> 207<br /> Still, where the aim is at the practical, it does mean that we shall ever hope actually to imitate<br /> not do to throw up the sponge too readily. As him or that we should do so if we could, but that,<br /> we see, we cannot fix upon the definite border-line in process of time and after a fashion, something<br /> -that is certain. Very well, then, abandon the of the master&#039;s charm-it may be but a shadow of<br /> precise, turn to the more general, the broader con- it—will fall inevitably upon the student like a<br /> sideration, and here is a method which, whatever blessing. Under such circumstances, it will be<br /> its demerits, will nevertheless compel, more often found, the habit modifies and, if slowly none the<br /> than not, the accomplishment of the end in view less surely, takes a smoother turn; and, as the<br /> -Variety of Style. The suggestion comes from vocabulary widens day by day, as the niceties of<br /> Lewes.* “How,&quot; he asks, “is variety to be expression grow familiar with experience, so will<br /> secured ?&quot; And, in answer, he says :-&quot; It is for the appropriate word come more promptly to hand,<br /> the writer to obey the great cardinal principle of and the sentence round itself off more pleasantly<br /> Sincerity, and be brave enough to express himself to the ear.<br /> in his own way.”<br /> And for the other condition-an orderly pre-<br /> Lewes&#039; idea, of course, is that no man can speak sentation of the thought-it seems that this must<br /> straight from the heart and speak montonously. spring primarily from clear vision on the author&#039;s<br /> In the impetuosity of the moment the meaning part. To explain, he must first have understood.<br /> is blurted out anyhow and, with words scarcely And, mark you ! not vaguely as in a fog, but with<br /> weighed and thoughts but indifferently considered, each detail sharply outlined in his own sight and<br /> monotony ceases to be possible. There may be a with its illustrative value distinctly set forth. He<br /> tangle—there generally is—and a good deal of has to picture a thought in which some things<br /> confusion, but at least there must be Variety too; matter more, others less, but a thought in which<br /> and no one is likely to quarrel with the contention. nothing must be blurred. Need we doubt, then,<br /> It is, however, just the very completeness of this that an author&#039;s business, before ever he puts pen<br /> proposition which brings about its downfall; for to paper at all, is to be sure of himself; to be sure<br /> what author, I ask you, will adopt a system which that he sees the finished picture and sees it aright,<br /> is likely to lead to confusion ? Clearly, none. too, through all the processes of its painting ?<br /> There must be order, that is essential. Then, can And, then? Then the practical consequence<br /> it be obtained whilst abandoning ourselves to “the seems inevitable ; he has assayed the worth of his<br /> great cardinal principle of Sincerity”? I think own material and instinctively, whether he will or<br /> 80. In the simplest fashion, too; by an honest not, the trifles must drop into the background and<br /> reference back, time and again, to the laws of the features of real consequence stand prominently<br /> Economy and Climax—that is, an author shall forward. And, though this may not be order in<br /> submit his spontaneous effort to the test of those its finished state, it is at least a good commence-<br /> conditions and never pass it until the conditions ment in the right direction ; and to have gone so<br /> have been fulfilled.<br /> far is to have left little enough to do in the final<br /> But even this is, in a sense, unsatisfactory. polishing up.<br /> The disentangling and re-setting of a wholly ill. And just one more thing in regard to variety.<br /> expressioned composition is a wearisome and time. We have considered its application to language;<br /> wasting business and, in a labour-saving age, all we may well believe that it applies equally to the<br /> against the accepted view of practical affairs. The thought itself, that the character of the thought<br /> aim, as we understand it nowadays, mnst always be shall not remain in one groove for too long a period.<br /> to accomplish anything with the least possible You remember the home-coming of Rip Van<br /> expenditure of effort. This is the safeguard Winkle. He had been asleep for twenty years up<br /> against overstrain, the secret of many achieve in the Katskill Mountains and then, awaking, he<br /> ments in the short period of a life; and, therefore, trudged back to his native village, an old and<br /> the obvious law. Hence, to fulfil it, an author&#039;s broken man. Presently—as he stood puzzling<br /> endeavour shall be to so order his mind, to so train over the array of new buildings, the strange names<br /> himself, that the expression of a thought may always upon the doors, the absence of all the familiar land-<br /> tend to fall automatically into some sort of logical marks which had once meant his home-presently,<br /> sequence and an intelligible and pleasant phraseology. the young men and maidens gathered round him<br /> With regard to the latter requisite, there is a and, as is the frivolous way of youth, started<br /> ready suggestion—that we should study good nudging one another and giggling at sight of the<br /> models. For, believe me, there is no more con tattered rag-bag. Who could this stranger be ?<br /> tagious thing in the world than frequent inter- This quaint old man with the long white beard,<br /> course with a writer wbo can write. I do not the bent back and the vacant eye? Was he out<br /> of a show ? or what? And when, after a moment<br /> * * The Principles of Success in Literature.” he inquired for his former friends, those gay spark<br /> <br /> <br /> ## p. 208 (#278) ############################################<br /> <br /> 208<br /> THE AUTHOR.<br /> with whom he had been wont to drink and make first list of the Academic Committee of the Royal<br /> merry in other days, the laugh burst out openly. Society of Literature without the editorial note,<br /> “Dead !&quot;they cried. “ Dead! the whole drunken which, I venture to think, the occasion might have<br /> lot of them !&quot; And when, a little later, he asked suggested.<br /> them for his wife, they held their sides in merri- The Committee of the Authors&#039; Society did<br /> ment, and the answer came back at him in a shout. not, it is true, express any formal opinion on<br /> “ Gretchen! Old Gretchen! Why, dead of the question of the inclusion of women in the<br /> course, like the rest, and buried these nineteen Academic Committee. It seemed to most of us,<br /> years !” Then Rip Van Winkle laughed too. when the question was mooted, that the better and<br /> “That&#039;s funny,” he said, “that&#039;s damned funny! So less contentious way to carry out so important and<br /> damned funny it nearly breaks my poor old heart!”* possibly controversial a step would be by the<br /> There may be more affecting incidents than this co-option by the Academic Committee itself of its<br /> to be found in fiction, but I do not know of them. first lady members. Since a dozen vacant seats<br /> I do not know of any other which strikes more were left at the disposal of the nominated members,<br /> surely, more rapidly, more directly, straight to the and there are at present, I believe, at least ten<br /> heart-strings. And, as it seems to me, the strength vacancies, there can be no practical difficulty in<br /> of the situation lies wholly in the use of contrast, this course being followed. Speaking for myself,<br /> in the sudden change from gay to grave, from the as an interested outsider, I trust it may be, and<br /> humorous to the pathetic, and in the certain without delay.<br /> exaggeration of effect which results from the I may, however, as one who some years ago gave<br /> unexpected transformation in the point of view. up a not unimportant post for the sake of women&#039;s<br /> It is like the first breath of open air to the invalid, claim to admission to a scientific society, be allowed,<br /> the tonic of a fresh idea ; and the mind, startled perhaps, to take this opportunity to warn my former<br /> and stirred by the surprise, responds with an clients that if their cause is not more successful they<br /> unaccustomed alacrity and magnifies the picture. have largely themselves to thank. I am not now<br /> This, then, is the work of variation in thought, to referring to the too notorious exhibitions of intem-<br /> create an energetic capacity in the reader and to perate conduct and language, of petulance and<br /> stimulate his powers of insight and appreciation silliness, in the followers of the women&#039;s movement,<br /> to their most active state. That the home of which their friends have been recently the<br /> coming of Rip Van Winkle is sad enough at any reluctant witnesses. I have in my mind the<br /> time, no one will dispute ; but it needs the magic apparent incapacity not only to play the game<br /> wand of the artist, that little touch of antithesis in the conduct of affairs, but even to understand<br /> at the end, that “ opposition of two thoughts its rules, of which ill-timed examples have been<br /> which are the reverse of each other in some given us lately by ladies from whom we might have<br /> prominent trait,” just to emphasise the sadness, hoped for better things.<br /> just to let us grip the real truth of it; just to fill Miss Toplis tells us the bad behaviour of our<br /> the eyes with tears.<br /> Committee “dawned slowly” on her. This is<br /> To sum up, then, there are the two leading hardly the way in which “grave slights&quot; and<br /> principles of economy and climax; and the third “indignities&quot; generally strike their victims. Is it<br /> principle of variety which controls the other two, not possible that Miss Toplis has been deceived by<br /> or, if you please, the position may be transposed. a“ false dawn”? When real daylight reaches her,<br /> But, anyway, it is the suitable harmonising of all she will probably appreciate that her sex has<br /> three that makes the basis of good writing and the neither been “slighted” nor “subjected to in-<br /> first trouble of all writers.<br /> dignity” by the action of our Committee of<br /> Management in this business. On the contrary,<br /> * This scene, of course, is only given verbatim in respect<br /> to Rip Van Winkle&#039;s concluding remark, which contains<br /> the Committee has done its best to leave an open<br /> the whole point.<br /> door for women by which they may enter with<br /> (To be continued.)<br /> honour and without unseemly disputes into the<br /> coveted dignity.<br /> I am, Sir, Yours obediently,<br /> CORRESPONDENCE.<br /> DOUGLAS W. FRESHFIELD.<br /> THE ACADEMIC COMMITTEE.<br /> SIR,-I must confess to some surprise that you<br /> have published the letter addressed to you by<br /> Miss Toplis on the absence of women from the<br /> II.<br /> SIR-I have read with interest the utterances<br /> of Mrs. Humphry Ward with regard to the<br /> Academic Committee. She deplores on many<br /> occasions that the unfortunate method of its<br /> <br /> <br /> ## p. 209 (#279) ############################################<br /> <br /> THE AUTHOR.<br /> 209<br /> election will stand in the way of the trust which If my play is pirated, I instruct my agent to<br /> such a body ought to have from other members of sally forth and capture the pirate ; but pirate-<br /> the profession, and from the public generally. chasing annoys him, because, as likely as not, he is<br /> A king once raised a gentleman to the peerage chasing a future client, and your agent cannot<br /> on the advice of a certain Prime Minister. The afford to offend managers. All managers are<br /> Prime Minister, it was said, hoped that this honest, but some are absent-minded. The manager<br /> advancement would give the public the best who produces my play in New Zealand or India on<br /> argument for the abolition of the House of Lords. a royalty basis sends me returns for seventeen per-<br /> Is it possible that the Royal Society of Literature formances ; but how am I to know that he has not<br /> bas pursued this peculiar method in its election of given serenty? And there is that very fruitful<br /> an Academic Committee in order that it may give source of income—the Stock Company of America.<br /> the public the best argument in favour of the com If permission to perform a play, together with the<br /> mittee&#039;s abolition ?<br /> prompt-copy of that play, had to be obtained from<br /> Yours truly, ONE INTERESTED. the society&#039;s authorised representative, those<br /> managers who perform plays, and those agents<br /> who lease plays for stock work and forget to<br /> ALTERATIONS IN AUTHORS&#039; MANUSCRIPTS. inform the author, could have “exeunt&quot; written<br /> SIR,-Surely the statement that “no editor or before their names.<br /> publisher has a right to alter an author&#039;s MS.&quot; Managers cannot exist without plays : yet the<br /> in the April issue is too wide in its literal terms. author is the person to whom payment is most<br /> Read &quot; an author&#039;s signed work.&quot; and I agree. grudged in times of box-office famine. Certain<br /> Both as contributor and editor, through a pretty managers look upon him as a kind of diseased<br /> long experience, I have always understood that an parasite, a being totally unnecessary to the success-<br /> editor of anonymous articles, being fully respon- ful working of a theatre. But if the dramatists as<br /> sible for the contents, is entitled to alter them. As an organised body went out on strike, what would<br /> a matter of courtesy and prudence he will consult become of the theatre as a commercial enterprise ?<br /> the writer so far as practicable. But in the case Personally, I cannot understand the selfishness<br /> of signed contributions an editor, except with the<br /> of the individual dramatist who objects to organisa-<br /> writer&#039;s consent, may only correct manifest errors, tion and co-operation. Whatever consideration he<br /> see to conformity in spelling and punctuation, and owes to his own interests, he still owes some to<br /> at need require objectionable matter to be omitted those of his profession. Naturally and rightly<br /> (but this is really a case of limited refusal to pub- dramatists of standing can demand larger fees than<br /> lisb, which is not on the same footing). Publishers those who still have their spurs to win; but any<br /> and proof-readers ought not to interfere except to dramatist can, and every dramatist should, demand<br /> stop, in emergency, a flagrant error which has an agreed-upon minimum percentage and certain<br /> escaped the author : such things do happen : but recognised conditions, one of which should be<br /> eren then they should be very careful.<br /> that if a manager, having requested an author to<br /> F. POLLOCK. send him a play, keeps that play beyond a certain<br /> send him a pl<br /> time-limit, it should be considered then that he has<br /> accepted that play, and that he is liable for a sum<br /> DRAMATISTS AND THE SOCIETY.<br /> in advance of royalties in connection with that play.<br /> SIR,—The average dramatist is incapable of If dramatists would stand together they would no<br /> looking after his own financial interests; so he longer be the victims of abuses ; they could demand<br /> employs an agent, and pays him a 10 per cent. and would obtain businesslike treatment and<br /> commission. But it seems to me that what the courtesy. But if they are to stand together they<br /> agents are doing the Society of Authors—if it is must do so under the banner of the society. And<br /> to represent us officially; if it is to become a although the scheme that I am suggesting would<br /> necessity to us; if the inducements to come in are entail infinite labour and much thinking, it is to<br /> to be so obvious that not to be a member is not to my mind the first and most important step towards<br /> exist as a dramatist-could do much better.<br /> real organisation and co-operation. All accom-<br /> And, from a purely commercial point of view, plishment that is worth while is difficult. It cannot<br /> why does the society philosophically accept the be done in a moment, but it can be done. There<br /> fact that a large portion of these commissions are born reactionaries—even amongst dramatists ;<br /> might, with a little trouble, be diverted to its own hopeless pessimists, content to let things slide,<br /> bank account? If it charged only 5 per cent. for fearful lest change should bring tyranny in its<br /> collecting royalties and drafting contracts, its wake. Such people have always been the brakes<br /> increased income would more than balance its on the wheel of human progress.<br /> increased expenditure.<br /> But it seems to me that if the society is to<br /> <br /> <br /> ## p. 210 (#280) ############################################<br /> <br /> 210<br /> THE AUTHOR.<br /> represent dramatists as a body; if the induce that I brought no accusation of any kind against anybody.<br /> ments to come in are to be greater than the<br /> An agreement is an agreement, and an absolute sale is an<br /> absolute sale, no matter how the financial consequences<br /> temptations to stay out; the Dramatic Sub-Com-<br /> thereof may work out.&quot; (New Age, March 9.)<br /> mittee would be doing a very useful work both for the<br /> It would seem, then, that the “ expert &quot; who is<br /> individual dramatist and for dramatists as a body<br /> if, during the coming year, it would draft a scheme<br /> good enough to assure the author that his foreign<br /> and translation rights are too trifling to be worth<br /> by which it could either shunt the agent and take his<br /> bothering about (and had therefore better be<br /> place, or appoint certain agents in various places<br /> entrusted to the said expert&#039;s sole care) is an<br /> who would act solely through and on behalf of the<br /> individual whose activities are not confined to this<br /> Society of Authors—men of experience, discretion<br /> side of the Channel.<br /> and integrity, who could keep in touch, through the<br /> Yours faithfully, WARD MUIR.<br /> theatrical papers or other sources, with the move-<br /> ments and productions of all classes of managers,<br /> and so safeguard the dramatist from unauthorised<br /> AUTHORS&#039; AGENTS.<br /> performances of his work ; thus making itself not<br /> only a luxury to the individual dramatist, but a SIR,--Through a long and varied experience I<br /> necessity to all dramatists ; while the extra expense have found that the author&#039;s agent rather than the<br /> involved could be met by the percentage charged on author himself ruins the prospects of the minor<br /> the collection of fees.<br /> author. The Society of Authors is constantly<br /> This is only a suggestion, but I think it is worthy dinning into the ears of its members that they<br /> of consideration.<br /> should not write under a certain price per 1,000<br /> Yours truly, A DRAMATIST. words in periodical contributions ; that they should<br /> not publish their first or subsequent books at their<br /> own expense, and I think that many authors have<br /> MINOR (?) Rights.<br /> wisely, and to their benefit, followed the advice that<br /> SIR,—The following paragraph from the weekly<br /> has been given them. But what are they to do<br /> literary causerie, “ Books and Persons in London<br /> when the author&#039;s agent advises them to sign con-<br /> and Paris,” by “ Jacob Tonson” in The New Age,<br /> tracts at ruinons rates ; to sign contracts giving<br /> may be of interest to some of your readers.<br /> all their minor rights to the publisher ; to sign<br /> “ Jacob Tonson,&quot; having stated that 5,000 copies<br /> contracts for the payment of sums towards the<br /> of the English translation of “Marie Claire ” were<br /> production of their books, or for the production of<br /> sold within a week of publication, goes on to<br /> their books on a deferred royalty which, when it<br /> describe an interview which he has had with<br /> does come, is microscopically small ? The author<br /> Madame Audoux, the author of that work. After<br /> goes to an agent, being ignorant himself, as to a<br /> recording the commencement of their conversation,<br /> person who knows the market; he trusts his wealth<br /> “ Jacob Topson ” continues :-<br /> of literature to an agent with greater confidence<br /> &quot;From work to prices, naturally! It was pleasing to<br /> than he would entrust his earnings to a stock-<br /> find that she (Madame Audoux] had a very sane and proper<br /> broker or his legal business to a solicitor-with<br /> curiosity as to prices and conditions in England. After I fatal results. The agent in many cases, in order<br /> had somewhat satisfied this curiosity she showed an equally to save himself trouble, gives advice which is wholly<br /> sane and proper annoyance at the fact that the English and<br /> unsatisfactory lest he should be asked to spend<br /> American rights of &#039;Marie Claire&#039; had been sold outright<br /> for a ridiculous sum. She told me the exact sum. It was<br /> more time and energy in obtaining a sounder<br /> either £16 or £20-I forget which. If the success of the agreement. This refers not only to the rights<br /> book in America equals its success in England (and it will placed in England, but also to the rights in America<br /> probably surpass it), the author&#039;s profits under a proper and other countries. In fact, it has almost become<br /> agreement should be upwards of £800. Who is getting<br /> these profits I cannot say, but the author is not getting<br /> impossible to persuade an agent to obtain the<br /> them.” (New Age, March 2.)<br /> American rights for his client. The result in the<br /> It is fair to add that in his next week&#039;s causerie<br /> long run would be much better for the author to<br /> “ Jacob Tonson” published the following<br /> pay an agent 15 per cent. to 20 per cent. if he<br /> could be quite sure that the agent would conscien-<br /> paragraph :-<br /> tiously fight through his contracts with publisher<br /> &quot;Last week, in spcaking of Marie Claire,&#039; I said that<br /> or editor, but then the question would always be<br /> the author was not getting the author&#039;s share of the profits<br /> on the very successful sale of Marie Claire,&#039; and that I in dispute whether by increasing the percentage<br /> did not know who was getting the author&#039;s share. Theyou increase the efficiency. As a general rule,<br /> publishers, Messrs. Chapman and Hall, have satisfied me when an author, or a body of authors, has estab-<br /> that they are paying quite proper royalties on the circulation<br /> lished his or their price, it is difficult to beat the<br /> (ten thousand copies up to date). I am very glad to make<br /> known this fact. Messrs. Chapman and Hall&#039;s contract. Price down again.<br /> however, is not with the author direct. I need not say<br /> Yours truly, A LITERARY WATCHER.<br /> <br /> <br /> ## p. 210 (#281) ############################################<br /> <br /> ADVERTISEMENTS.<br /> vii<br /> AUTHORS wishing to make arrange-<br /> Authors&#039; MSS. 16. 1,000 words; over 40,000, 10d.<br /> Educated Operators, GOOD PAPER, Standard Machines.<br /> Plays and Actors&#039; Parts. Legal, General and Commercial<br /> Documents. Duplicating. Facsimile Typewriting.<br /> FULL TERMS ON APPLICATION. REFERENCES.<br /> SIKES and SIKES,<br /> ments for Publishing are invited to<br /> communicate with LYNWOOD &amp; Co.,<br /> Ltd., Publishers, 12, Paternoster Row,<br /> London, E.C., who will be pleased<br /> to consider MSS. and advise (free).<br /> Please write before sending MSS.<br /> TYPEWRITING.<br /> (Established 1893),<br /> 2232, HAMMERSMITH ROAD, LONDON, W.<br /> THE AUTHORS&#039; ALLIANCE<br /> Are prepared to consider and place MSS.<br /> Literary Work of all kinds dealt with by Experts who<br /> place Authors&#039; interests first. Twenty years&#039; experience.<br /> 2, CLEMENT&#039;S INN, W.C.<br /> Authors&#039; MSS. accurately copied from 10d, per<br /> 1,000 words ; carbon copies third price. Work executed<br /> with secrecy and despatch. REFERENCES.<br /> G. H. &amp; E. HAZELGROVE,<br /> Newdigate, DORKING.<br /> TYPEWRITING.<br /> TYPEWRITING.<br /> Intelligent, careful work. Tel. 1414 Padd.<br /> Authors&#039; MSS, and General Copying carefully miss Jolly, 43, Paddington St., London, W.<br /> typed at rates from 8d. per 1,000 words. Recommended<br /> by a member of the Authors&#039; Society.<br /> TYPEWRITING SHORTHAND.<br /> TRANSLATIONS.<br /> Miss E. S. MURDOCH,<br /> First-Class work only.<br /> Glenfairlie, Avondale Road, Wolverhampton. | MISS M. HOWARD, 147, Strand, W.<br /> DUPLICATINO.<br /> Special Announcement to Authors !<br /> Many would-be Competitors in Messrs. Hodder &amp; Stoughton&#039;s new<br /> £1,000 Novel Competition are prevented from entering simply be-<br /> cause they cannot at once spare the money to have their MS. typed.<br /> A REMARKABLE OFFER!<br /> If you will send your MS. and P.O. for 101-, together with a promise<br /> to pay the balance (at the rate of 1/- per 1,000 words, Carbon<br /> Duplicate, 3d. per 1,000) in monthly instalments of £1, I will<br /> undertake to return you a perfectly correct type-written copy.<br /> ABSOLUTE SECRECY GUARANTEED.<br /> DON&#039;T HESITATE!<br /> WRITE AT ONCE!<br /> THIS OFFER WILL NOT REMAIN OPEN LONG.<br /> One of my numerous testimonials for Members of the Society of Authors-<br /> &quot;I am especially pleased with your work.”<br /> Another writes-<br /> “I am always delighted with the way you type my work.”<br /> C. HERBERT CÆSAR, Homefield, Woodstock Road, St. Albans, Herts.<br /> <br /> <br /> ## p. 210 (#282) ############################################<br /> <br /> vii<br /> ADVERTISEMENTS.<br /> Two popular Hotels in Central London.<br /> Opposite the British Museum.<br /> TYPEWRITING |<br /> WITH BRAINS.<br /> THACKERAY HOTEL<br /> WITH<br /> Great Russell Street, London.<br /> Near the British Museum.<br /> KINGSLEY HOTEL.<br /> Hart Street, Bloomsbury Square, London.<br /> My work is always the same—THE BEST.<br /> INDIFFERENT COPY TYPED WELL stands a better<br /> chance with Editors and Publishers than<br /> GOOD WORK TYPED BADLY.<br /> II USE BRAINS as well as bands.<br /> HIGH-CLASS WORK AT LOW CHARGES.<br /> Every Order I have executed has been followed<br /> by Repeats.<br /> I have many Testimonials from Members of the<br /> Authors&#039; Society.<br /> MY WORK IS MY BEST REFERENCE!<br /> I work for Authors, Clergymen, Playwrights,<br /> Business Houses, &amp;c.<br /> SEND ME A TRIAL ORDER NOW.<br /> Passenger Lifts. Bathrooms on every Floor. Lounges<br /> and Spacious Dining, Drawing, Writing, Reading, Billiard<br /> and Smoking Rooms. Fireproof Floors. Perfect Sanita-<br /> tion. Telephones. Night Porters.<br /> Bedrooms (including attendance), single, from<br /> 3/6 to 6/=<br /> Inclusive Charge for Bedroom, Attendance, Table d&#039;Hote,<br /> Breakfast and Dinner, from 816 to 10/6 per day.<br /> Full Tariff and Testimonials on application.<br /> Telegraphic Addresses :<br /> Thackeray Hotel—&quot; Thackeray, London.&quot;<br /> Kingsley Hotel —&quot;Bookcraft, London.”<br /> MISS RALLING,<br /> 176, Loughborough Road, LONDON, S.W.<br /> MRS. GILL, Typewriting Office,<br /> (Established 1883.) 35, LUDGATE HILL, E.C.<br /> Authors&#039; MSS. carefully copied from 1s. per 1,000<br /> words. Duplicate copies third price. French and German<br /> MSS. accurately copied; or typewritten English trans-<br /> lations supplied. References kindly permitted to Messrs.<br /> A. P. Watt &amp; Son, Literary Agents, Hastings House,<br /> Norfolk Street, Strand, W.c. Telephone 8464 Central.&#039;<br /> AUTHORS &amp; PLAYWRIGHTS<br /> Special facilities for placing work of every description.<br /> Particulars from Manager, Literary Department,<br /> WIENER AGENCY, LD.,<br /> 64, Strand, LONDON,<br /> AND TRIBUNE BUILDING, NEW YORK.<br /> Story work, 9d. 1,000 words; 2 copies, 1/-.<br /> Plays, ruled and covered, 1/- 1,000 words.<br /> Opinions selected from letters received during the past twelve years :-<br /> MRS. E. NESBIT BLAND (E. NESBIT): “I am extremely<br /> pleased.... It is beautiful work.&quot;<br /> MRS. TOM GODFREY: “I think you must be a treasure trore<br /> to all authors who have the good fortune to hear of you. ...<br /> You certainly evince an intimate knowledge of French.&quot;<br /> MRS. HINKSON (KATHARINE TYNAN): &quot;I have never met<br /> with anything approaching your intelligence, carefulness and<br /> promptitude.&#039;<br /> RICHARD PRYCE, ESQ.: “The work could not be better<br /> done.&quot;<br /> L&#039;Isle, Dimond Road,<br /> Bitterne Park,<br /> LOUIS A. ST. JOHN, L&#039;Isle toimenes Road, Southampton.<br /> TYPEWRITING.<br /> ILLUSTRATOR<br /> Authors&#039; MSS. copied from 9d. per 1,000<br /> words; in duplicate, 1/-. Plays and General<br /> Copying. List and specimen of work on appli-<br /> cation.<br /> ONE OF NUMEROUS TESTIMONIALS.<br /> “Miss M. R. HORNE bas typed for me literary matter to the<br /> Willing to do two specimen coloured<br /> illustrations for writers of books<br /> for children on chance of<br /> acceptance. Also black and<br /> white work.<br /> extent of some hundreds of thousands of words. I have nothing<br /> but praise for the accuracy, speed and neatness with which she<br /> does her work.-FRANK SAVILE.&quot;<br /> MISS M. R. HORNE,<br /> ESKDALE, WEST DRAYTON, MIDDLESEX.<br /> MISS M. HOPKINS,<br /> Glenville, Cushendall, Co. Antrim.<br /> Printed by BRADBURY, AGNEW, &amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)<br /> at 10, Bouverie Street, London, E.C.	https://historysoa.com/files/original/5/420/1911-05-01-The-Author-21-8.pdf	publications, The Author